The Literary Press
(Continued from Page 1B)
Silver fish Review
SILVERFISH
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REVIEW
publication, whose founders maintain
close ties with the Twenty Three collective, is
Silverfish Review which was first published in
January 1979 and has put out two more issues
since then. Roger Moody, a graduate of the
University’s creative writing program, is the
publisher.
Moody has gone after nationally known poets
for his publication and has already published two
poems by Oregon poet laureate William Stafford.
The third issue of Silverfish was 28 pages long
and devoted solely to Eugene poet Frank Rossini,
who teaches at Lane Community College.
Silverfish Review accepts poetry and and
fiction from contributors but doesn’t expect them
to work on the review’s production. Moody
estimates he receives anywhere from 50 to 200
manuscripts a month for publication.
“But we reject most of the people who send
stuff in, usually the beginners who don't know
what they're doing and send their work in,"
Moody says. Still, Moody would like poets to send
their material to the review.
For this reason, Moody actively solicits poetry
from experienced writers he has met at
conferences and in his travels. He says a 40-page
review cannot be of high quality by depending
only upon what people send For the April issue of
Silverfish Review, however. Moody has only eight
pages filled, which leaves 32 open pages. “So I
would encourage poets to send their material in,”
he says. “There’s still plenty of room.”
Moody also encourages essayists,
photographers and graphic artists to send in their
work.
10 point 5
/ J. nother magazine distributed nationwide
is 10 point 5 Arts Magazine, which emphasizes
both the visual and literary arts and has gone
through a major change of direction in its
five-year existence.
“At first 10 point 5 was just a group of poets
who wanted to get their poetry published,” says
Peg Peoples, one of seven current directors of 10
point 5. “But last year we realized that to do what
we want with the magazine would take more
money than we alone could put into it.”
So these days the 10 point 5 people think of
themselves as poets and as publishers looking for
talented poets. As a publisher of other poets, the
magazine becomes eligible for government
money. The magazine has already gotten one
federal matching grant of $500 per issue from the
Coordinating Council on Literary Arts Magazines.
The magazine comes out about three times a
year. “We’d like to see 10 point 5 become a
quarterly,” Peoples says.
A new issue of 10 point 5, to be published the
first week of March, will include translations from
contemporary French poets such as Vime
Karenine (who read at the University last spring)
and Terez Plantier.
The March issue will also features different
visual art styles. Some of the photographers
featured are Eugene-based painter Rene
Rickabagh, whose photos depict scenes from the
Excelsior Cafe. Tom Macinte, another Eugene
resident, will see his photo essay of a Southern
Oregon goat farm in the new issue.
Many of the poets, writers and translators
whose work is published in 10 point 5 are from
Eugene. Karen MacPhearson, currently writing
and living in France, translated Tehrez Plantier.
Peter Wallace, an instructor at the University,
translated Vime Karenine. Lyn Lyfshin, a Eugene
poet, publishes regularly with 10 point 5.
But 10 point 5 has also published the poetry
of a German poet who submitted his work and has
received submissions from poets in England, Italy
and France.
“We have published a lot of nationally known
poets, but we encourage people who have not
published before, to submit their work,” Peoples
says.
Some issues of 10 point 5 emphasize short
fiction. Other issues are centered upon poetry or
the visual arts.
“There isn’t a real basic philosophy behind
what we select,” Peoples says. “We ll look at
work that comes in by putting it in packets of five
to seven poets, each allowed to submit no more
than 10 poems. We go through each poem three
times. We get between 300 and 500 submissions
per issue. We read a packet a week. It takes six
weeks to answer someone who sends in material,
but we try to tell in a letter what we think about the
poetry. We don’t send form cards out if we reject
someone’s work.
Northwest Review
c
Survival is seldom a foregone conclusion
for literary magazines and the University’s
Northwest Review is no exception, even though
it is considered one of the best in the country.
“There were a couple of really rough years
when it looked like it was going to fold,” says
John Witte, Northwest Review editor and Eugene
poet. “But the magazine survived because there
was a reason to survive.
“Any magazine with spunk has had to endure
some real crises. The Northwest Review has
exhibited some real endurance when a lot other
magazines have folded.”
“It’s very hard for a literary magazine to get
its head above water. And it was ever thus,” says
Witte, who took over editorship of the Review from
Michael Strelow 10 months ago.
“If a magazine doesn’t have problems paying
the bills, it’s probably not fulfilling its purpose,” he
says. During its 23-year history, Northwest Review
has paid its bills through sales, subscribers,
donations, residuals and a variety of grants.
Witte says the reward for literary magazines that
scrape by and survive is freedom.
“We can do anything we want. That’s part of
the beauty of the magazine - it’s open to new
ideas,” he says.
“It’s that kind of freedom that characterizes
all the important magazines in the country of a
review sort.”
But Witte says literary magazines like
Northwest Review also have a responsibility —
filling the vacuum left by the big publishers who
are interested in sure sellers.
“It’s fallen on the small magazine to give
them (new and exprimental writers) an outlet
where their work can be appreciated and read,”
he says.
“Ninety-five percent of what we print is sent
to us out of the blue. The review exists by and for
them.”
Taking this responsibility seriously has led to
a rennaisance among literary publications, and
Witte says he sees a parallel between the growth
of the literary magazine and the increasing
number of small presses like Copper Canyon
Press of Port Townsend, Wash., that print small,
high-quality editions.
Accordingly, Witte has added a new “small
press” feature to regular editions of the
magazine. The upcoming Review will examine
Copper Canyon through an essay by the press’
founder and a series of reviews of recent Copper
Canyon publications.
Other regular features in the magazine examine
the work of an artist and a poet.
The new 156-page issue will feature a long
portfolio of both old and new poems by Gerald
Stern, an autobiographical essay and a critical
essay on Stern’s work. The art feature will explore
the work of Nancy Schutt, a Eugene-based
printmaker and will include a portfolio of her
prints and an essay she has written about her art.
About a quarter of each regular edition of
Northwest Review is devoted to reviews and the
remainder is divided among essays, poems, short
fiction and art work. Witte says the staff plans
three issues a year, and occassionally an issue
explores a special topic, such as the recent
anthology of Northwest writing, 1900-1950.
The first issues of Northwest Review served
as a house organ for the University, but the
magazine's outreach is now huge — some of the
1,800 to 2,000 magazines in each edition go to
subscribers in 49 states and 34 countries.
Other special editions, like the one about
Oregon poet William Stafford that now sells for
about $50 in New York city, have become
collecters items.
"We print the highest quality product that can
be achieved,” says Witte.
“We expect the writing to endure and
produce it in an enduring fashion.”
Although Review editors have been accused
of looking for poems with salmon in them, Witte
says the Review’s goals are more complex than
that.
The magazine tries to be at the cutting edge
of the literature of our time, he says. “You can’t
include all you want so you try for writers who are
ahead of their time.”
For that reason publishers like Doubleday
read Northwest Review and other major literary
magazines to find new, important writers, he says.
Writers who submit work to Northwest Review
will usually receive more than a form rejection,
says Witte. "We try to correspond with as many
young writers as possible.”
But the Review’s relationships with new
writers is not always just mail correspondence.
“We don’t have standard routines so we welcome
unexpected intrusions,” Witte says.
This close contact with writers has led to
some interesting stories. Witte says the first time
Joyce Carol Oates came to the Northwest and
visited Eugene she headed for the Review office.
“That’s where her experience of the Northwest
literally began,” he says.
The magazine, however, seems to keep a low
profile closer to home.
“It’s odd that Joyce Carol Oates knew where
Northwest Review was but not many English
teachers do,” says Witte. Professors on the third
floor of PLC know where the Review is located,
but those on the second floor don’t, he says.
“I really want to see that change. The
magazine is an exciting asset and I want to share
that with as many people as possible. ”
Witte says persons submitting work to
Northwest Review should follow the guidelines
suggested by most editors — submissions should
be typed and include a self-addressed stamped
envelope.
“We’re looking for the very best writing we
can find,” he says, adding that the magazine is
not intended to publish only literature of the
Northwest.
"The magazine is a Northwest magazine in a
context of the literature of the country and dm
world.”
Vjriyphs, the University Honors College
yearly literary magazine, is accepting submissions
through March 15 for publication in its spring
issue.
So far the editors haven’t received many
submissions, says Bob Shepard (Xeres), one of
Glyph’s editors. Shepard says the purpose of the
magazine is to get new writers into print and he
stresses that people shouldn’t be afraid to submit.
Although the magazine, like other literary
publications, strives for high quality work,
Shepard says high quality is a very subjective
thing and just about anything submitted will
receive careful consideration from the editors.
Shepard says they are looking for poems,
short fiction, essays, drawings, black and white
photographs, comics or anything else that’s
interesting.
Although the magazine hasn’t adopted a
specific theme for the upcoming issue, Shepard
says he would like to see submissions that are
politically or spiritually oriented.
All submissions for Glyphs should include the
writer or artist’s phone number and be taken to
the Honors College, located on the third floor of
Chapman Hall and left in the drawer labeled
Glyphs in the student lounge.
Submissions do not have to be typed but
must be legible, says Shepard.
Glyphs began in 1977 as the Clark Corner
Literary Review.
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