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We have the pleasure of introducing you to New England Review! This impressive journal prides itself on publishing a variety of voices and subject matter from both well-established and emerging talent.
CONTEST! Leave a comment by December 8th to win a FREE one-year subscription to New England Review. U.S. residents only. This contest is now closed. Congratulations to our winner Greg L. Thank you to all who participated!
DISCOUNT! Subscribe between now and the end of 2011 and get four issues for just $20 (regular subscription is $30). Use SPCNER in the special code line of the online form to get your discount.
Without any further ado, we give you New England Review!
1. Why is your journal awesome?
The variety of voices, subject matter, experimentation, and success with old forms—you’ll always learn something new reading NER—and if you give any piece a chance it is going to give you something back. We’re always hoping to find great work by unpublished writers, as then we can brag about having discovered them years hence.
2. Describe your ideal submission in 15 words or less.
It no longer feels like a submission but like a voice in my head.
3. Tell us about a piece you recently published that got the staff really excited. Why did you love it? Why did it strike a chord? Can readers find it online (if so, feel free to include the URL)?
I’ll tell you a little bit about the current selections on our website, so you’ll get a sense of what makes an issue of NER come together—and what our staff gets excited about. First some stunning and quiet lyric poems by Jennifer Grotz (with audio clips, so you can hear her read the poems herself), followed by Jordan Davis’s unexpectedly poignant take on office work and “clicking around.” Scott Southwick’s story, “Time Keeps on Slipping, etc.,” has a compulsive voice with a powerful cumulative effect, and Charles Holdefer’s essay on George Orwell will interest anyone at all concerned with what it means to be a writer in a difficult, violent world. We’ve also included Amy Benson’s riffs on a variety of contemporary artworks, which are very much like short shorts—but also obliquely resemble the works of art themselves.
4. Regarding submissions: What’s the most common turn-off that you encounter (in terms of craft)?
Carelessness with language on the sentence level. I don’t mean that every sentence has to knock me over, but the words need to be chosen deliberately.
5. What’s the most common oversight (in terms of submission guidelines)?
In prose, the problem is multiple submissions; that is, one writer sending more than one story or essay at a time; in poetry, it’s writers sending simultaneous submissions, which are not allowed at New England Review.
6. Give us the lowdown on your journal’s mission.
NER is on the lookout at all times for writing that rewards the reader for spending time with it. Our editors are tenacious, and even our readers stick around for years, so at NER we’re not hoodwinked by long, star-studded vitae or writerly pyrotechnics that serve mainly to show us how smart or clever the author is. We’re impressed by writing that wrings all that it can from the language, that’s attentive to craft without necessarily drawing attention to it, and that’s serious in its purpose, which of course doesn’t prevent it from sometimes being absolutely hilarious. Our mission, more broadly, is to encourage and promote good writing, to give it a chance to find its deserved endpoint—a receptive reader.
7. Where can readers find your submission guidelines?
Our website has all of our guidelines for submission.
8. What’s your favorite part of being an editor at NER?
I love when a story that’s interesting but not quite right comes back to us months or even a year later as a much better piece—or when an author we encouraged sends a different story altogether but one in which I recognize the sensibility, only this time it’s hitting all the right notes. This makes me hopeful in all kinds of ways.
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