By Numsiri Kunakemakorn Editor, Lesha Hurliman Editor
WithoutCovers incites dialog, debate, argument, and so much pressingly, questions in regards to the purposes at the back of and results of small literary magazines relocating to on-line publishing. Questions mentioned are: Is it attainable? How? whilst? and the main difficult, Why? throughout the musings of 19 recognized editors, poets, fiction, nonfiction, and hypertext writers, readers can eavesdrop right into a dialogue of the aim and politics of on-line publishing that has created a brand new bridge among conventional literary pursuits and present institutional, cultural, and monetary pressures to target know-how.
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Additional info for Without Covers: literary_magazines@the_digital_edge (NotaBell Books)
Barney saw the Web as another vital publishing medium and a place where he could keep track of the family (both actual and literary) via email. Evergreen online would do new work but he would also make the whole of his archive available online. , Denise Levertov, and Marguerite Duras; to Amos Tutuola, Artaud, and D. T. Suzuki; to Che Guevara, Bobby Seale, and Charles Olson (constructing these triplets from Evergreen tables of contents is an indulgence, the ultimate desert island game, but also irresistible, especially to someone who, as a young man, met them so in these pages).
A u-topia of never to be. We live in an age when all marriages—made, muffed, or missed—are in some sense serial and subjunctive and only haply ever after (with afterwhat under question, and any ever hounded by perpetual nextness, against which only a happy sense of chance and happenstance seems a defense). Literature, even by littles, lives in auld lang syne, and only new media bear the burden of ever being new—which is quite a different thing than Pound’s (borrowed) injunction to make it so. ” This wedding can work, and has.
However curiously Salon and Slate, both which I confess I long ago gave up reading on account of their self-congratulatory tone and Seattle-coast would-be New Yorker pretensions, have, to the best of my knowledge, neither published electronic literature nor any signi¤cant criticism of same (unless one counts the aforementioned polemic by senior editor Miller, which seems to have led the way to her burgeoning career as Times Book Review second-stringer and book party anthologist, as well as paved the way as she, and Salon, make a righteous and rightward move away from digi- and back toward transparently lite-rati-ness).