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Distinguishing Features and Pioneering Publications
Little magazines differ from the large commercial periodicals and major scholarly reviews by their emphasis on experimentation in writing, their perilous nonprofit operation, and their comparatively small audience of intellectuals. Prototypes of the 20th-century little magazine were The Dial (Boston, 1840-44), a transcendentalist review edited by Ralph Waldo Emerson and Margaret Fuller, and the English Savoy (1896), a manifesto in revolt against Victorian materialism.
The Twentieth Century
The little-magazine movement in this century began in 1912 with Poetry: A Magazine of Verse (Chicago, 1912-), edited by Harriet Monroe with Ezra Pound as the foreign editor. Poetry enjoyed a long period of success. During World War I a large number of other magazines appeared, the most notable of which were Others (1915-19), edited by Alfred Kreymborg; The Little Review (Chicago, San Francisco, New York, Paris, 1914-29), edited by Margaret Anderson; and The Egoist (London, 1914-19), edited by Dora Mardson (1914) and Harriet Shaw Weaver (1914-19), which voiced the theories and practices of the imagists. The revived Dial, edited in New York in the 1920s by Marianne Moore, had more than 30,000 readers by the middle of that decade.
Among the many poets whose early reputations owed much to little magazines were T. S. Eliot, Robert Frost, Ezra Pound, Edgar Lee Masters, Hart Crane, and Wallace Stevens. James Joyce's Ulysses had its first U.S. printing, in serial installments, in The Little Review. As a result the magazine was banned by court order and subsequently broken financially. Also appearing before 1920 and prefiguring much of the little-magazine movement of the 1930s were the proletarian or left-wing magazines. The first and most significant of these was The Masses (New York, 1911-17), guided principally by Max Eastman and Floyd Dell.
After World War I the "new" literary magazine appeared. Noted examples of this type were the Modern Review (1922-24), edited by Firwoode Tarleton; The Fugitive (Nashville, Tenn., 1922-25), whose editors included John Crowe Ransom, Allen Tate, Donald Davidson, and Robert Penn Warren; Voices (Boston, 1921-65), edited by Harold Vinal; Secession (1922-24), published in Vienna, Berlin, Brooklyn, and elsewhere and edited by Gorham Munson; and Broom (1921-24), a rival of Secession, edited by Harold Loeb and Alfred Kreymborg.
Also important were This Quarter (Paris, Milan, 1925-32), edited by Ernest J. Walsh and The Enemy (London, 1927-29), edited by Wyndham Lewis. The first of the regional magazines also appeared at this time-The Midland (Iowa City, 1915-33), edited by John T. Frederick. Others were The Frontier (1920-39), which celebrated the Pacific Northwest; the Southwest Review (1924-), edited by J. B. Hubbell; Double-Dealer (New Orleans, 1921-26), edited by John McClure; and the Prairie Schooner (1927-).
In the 1930s important little magazines connected with the left-wing movement included New Masses (1926-48); the Modern Quarterly (1923-40); The Anvil (1933-35); Blast (1933-34); and The Partisan Review (1933-), which soon abandoned politics and turned to literary affairs. Notable among the literary magazines were transition (Paris, 1927-38), established by Eugene Jolas; New Verse (London, 1933-39); and Criterion (London, 1922-39), edited by T. S. Eliot.
In the 1940s little magazines came to be associated with groups of writers and poets in academic circles, for example, The Kenyon Review (1939-). In the late 1960s the underground press in combination with an avant-garde striving to articulate its rejection of established attitudes fostered a rebirth of little-magazine publishing. This produced hundreds of mostly short-lived reviews, including the New York Quarterly, Aphra, A Feminist Literary Magazine, The Little Magazine, and The American Review.
Bibliography
See F. Hoffman et al., The Little Magazine (1947); E. Anderson and M. Kinzie, The Little Magazine in America (1978).
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A literary magazine is a periodical devoted to literature in a broad sense. Literary magazines usually publish short stories, poetry and essays along with literary criticism, book reviews, biographical profiles of authors, interviews and letters. Literary magazines are often called literary journals, or little magazines, which is not meant as a pejorative but instead as a contrast with larger commercially oriented magazines.[1]
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Literary magazines first began to appear in the early part of the 19th century, mirroring an overall rise in the number of books, magazines and scholarly journals being published at that time. In Great Britain, critics Francis Jeffrey, Henry Brougham and Sydney Smith founded the Edingburgh Review in 1802. Other British reviews of this period included the Westminster Review (1824), the Spectator (1828) and Athenaeum (1828). In the United States, early journals included the Philadelphia Literary Magazine (1803–08), the Monthly Anthology (1803–11), which became the North American Review, the Yale Review (founded in 1819), Dial (1840–44) and the New Orleans-based De Bow’s Review (1846–80). Several prominent literary magazines were published in Charleston, South Carolina, including the Southern Review from 1828–32 and Russell's Magazine from 1857–60).[2]
The North American Review is the oldest American literary magazine, but publication was suspended during World War II whereas the Yale Review was not, making the Yale journal the oldest literary magazine in continuous publication. By the end of the century, literary magazines had become an important feature of intellectual life in many parts of the world.
Among the literary magazines that began in the early part of that century is Poetry Magazine, founded in 1912, which published T. S. Eliot's first poem, "The Love Song of J. Alfred Prufrock." Other important early-20th century literary magazines include The Times Literary Supplement (1902), Southwest Review (1915), Virginia Quarterly Review (1925), Southern Review (1935) and New Letters (1935).
Two of the most influential — and radically different — journals of the last-half of the 20th century were The Kenyon Review (KR) and the Partisan Review. The Kenyon Review, founded by John Crowe Ransom, espoused the so-called New Criticism. Its platform was avowedly unpolitical. Although Ransom came from the South and published authors from that region, KR also published many New York-based and international authors. The Partisan Review was first associated with the American Communist Party and the John Reed Club, however, it soon broke ranks with the party. Nevertheless, politics remained central to its character, while it also published significant literature and criticism.
The middle-20th century saw a boom in the number of literary magazines, which corresponded with the rise of the small press. Among the important journals which began in this period were Nimbus: A Magazine of Literature, the Arts, and New Ideas, which began publication in 1951 in England, the Paris Review, which was founded in 1953, Poetry Northwest, which was founded in 1959, and the Denver Quarterly, which began in 1965. The 1970s saw another surge in the number of literary magazines, with a number of distinguished journals getting their start during this decade, including Ploughshares, The Iowa Review, Granta, Agni, The Missouri Review, and New England Review. Other highly regarded print magazines of recent years include The Threepenny Review, The Georgia Review, The Massachusetts Review, Ascent, Shenandoah, The Greensboro Review, ZYZZYVA, Glimmer Train, Tin House, the Canadian magazine Brick, the Australian magazine Skive, and Zoetrope: All-Story. Some short fiction writers, such as Steve Almond, Jacob Appel, Stephen Dixon and Mary Yukari Waters, have built national reputations in the United States primarily through publication in literary magazines.
The Committee of Small Magazine Editors and Publishers (COSMEP) was founded by Hugh Fox in the mid-1970s. It was an attempt to organize the energy of the small presses. Len Fulton, editor and founder of Dustbook Publishing, assembled and published the first real list of these small magazines and their editors in the mid-1970s. This made it possible for poets to pick and choose the publications most amenable to their work and the vitality of these independent publishers was recognized by the larger community, including the National Endowment for the Arts, which created a committee to distribute support money for this burgeoning group of publishers called the Coordinating Council of Literary Magazines (CCLM).
Many prestigious awards exist for works published in literary magazines including the Pushcart Prize and the O. Henry Awards. Literary magazines also provide many of the pieces in The Best American Short Stories and The Best American Essays annual volumes.
Around 1996, online literary magazines began to appear. At first, some writers and readers dismissed online literary magazines as not equal in quality or prestige to their print counterparts, while others said that these were not properly magazines and were instead ezines. Since then, though, many writers and readers have accepted online literary magazines as another step in the evolution of the independent literary journals. Among the better known online literary magazines are 3:AM Magazine, The Barcelona Review, Eclectica Magazine, Failbetter, Identity Theory (webzine), Literary Mama, McSweeney's Internet Tendency, Spike Magazine, StorySouth and Word Riot, but there are literally thousands of online literary publications and it is difficult to judge the quality and overall impact of this relatively new publishing medium.[3]
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