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Manuscripts can be sub­mit­ted for con­sid­er­a­tion Septem­ber 1 through May 31 (post­mark dates or through our online sub­mis­sions sys­tem). All ed­i­to­rial cor­re­spon­dence sent by mail should in­clude a stamped, self-ad­dressed en­ve­lope. Mail:

New Eng­land Re­view, Mid­dle­bury Col­lege, Mid­dle­bury, VT 05753; tele­phone: (802) 4435075; fax: (802) 443-2088; e-mail: nere­view@ mid­dle­bury.edu; web: www.nere­view.com.

New Eng­land Re­view is grate­ful for fund­ing from the Na­tional En­dow­ment for the Arts.

Cred­its “Sad Steps” from The Com­plete Po­ems of Philip

Larkin by Philip Larkin, edited by Archie Bur­nett. Copy­right © 2012 by The Es­tate of Philip Larkin. Reprinted by per­mis­sion of Far­rar, Straus and Giroux, LLC. “Stut­ter­ing Cities” by Va­le­ria Luiselli, trans­lated by Christina Macsweeney, will ap­pear in

Side­walks, to be pub­lished by Cof­fee House Press in May 2014. Used by per­mis­sion. “Thurs­days at La Gi­ralda” by Juan José Saer, trans­lated by Steve Dolph, is an ex­cerpt from the novel La Grande, to be pub­lished by Open Let­ter in June 2014. Used by per­mis­sion. “Wag­ner Over­throws the Gods” by Rüdi­ger Safran­ski, trans­lated by Robert E. Good­win, will ap­pear as Chap­ter 13 of Ro­man­ti­cism:

A Ger­man Af­fair, to be pub­lished by North­west­ern Univer­sity Press in June 2014. The book will in­clude full ci­ta­tions, in­dex, and bib­li­og­ra­phy. Used by per­mis­sion. “Al­ways the Sea” (2008), orig­i­nally pub­lished as “Siem­pre el mar” in Mo­men­tos 4 and “Two Old Friends” (2009) orig­i­nally pub­lished as “Dos vie­jas ami­gas,” in Cuen­tos de ami­gas, ed. Laura Freixas (Barcelona: Anagrama, 2009) by Es­ther Tus­quets. Copy­right © Es­tate of Es­ther Tus­quets. Trans­la­tion by Bar­bara F. Ichi­ishi, pub­lished by per­mis­sion of Milena Bus­quets and Casanovas & Lynch. Cover: from Blue Vault, 2010, 60" × 60", C-print, by Raïssa Ven­ables. Ven­ables metic­u­lously con­structs her im­ages from dozens of pho­to­graphs taken of a par­tic­u­lar space. She does away with pho­tog­ra­phy's con­ven­tional one-point per­spec­tive as she plays with mul­ti­ple van­ish­ing points and lay­ers of im­ages. These new per­spec­tives form im­pos­si­ble ar­chi­tec­tural puzzles that seek to con­jure, de­ceive, and dis­ori­ent.

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