Winter 2015
Editor’s Note:
So much good news to announce for SolLitMag: First, we welcome our terrific new Managing Editor and Blog Editor, Amy Yelin. Amy is also a published author of fine nonfiction! And we announce our forthcoming (April, 2015) print anthology, Selections from Solstice, celebrating our first five years. And check for our forthcoming (2014) third eBook, Sadgirls, by Margaret Garcia. Also, we’ll have a booth at AWP 2015, monitor a panel on editors speak on diversity, and co-host a reception with Talking Writing and Juked.
Now to our Winter Issue: Here’s to an impressive diversity of styles in Fiction: Featuring acclaimed author Valerie Miner’s mysterious realistic piece. Moving into the magical realism of Laurie Foos, to the prose poetry of a lesbian encounter by Estela Gonzales, to the beautifully crafted realistic stories by Amrit Chima and Jerry Whitus, to the edgy postmodern realism of Gary Percesepe, to the hardcore realism of Sean Conway, and the quirky premise fiction of Sean Gandert.
For Nonfiction we offer a range from the profound multi-media essay by Thomas Larson to Allen Gee’s deep-going metaphorical insights into deep-water fishing, to Debbie Merion’s in-depth look into anorexia.
Unending thanks to our devoted, creative editors Richard Hoffman, author of the acclaimed memoir Love & Fury, and to Ben Berman, poet and author of Strange Borderlands. (Order through our sidebar ads!) And with gratitude to Dzvinia Orlowsky for editing Poetry in Translation. And thanks to DeWitt Henry for promoting two pieces in this issue. And to our devoted readers and staff. Please Subscribe for free, follow us on Twitter, become a Facebook Friend. Join our diverse, ever-growing community! We are promoting diversity in the arts!
Lee Hope, editor in chief
Ps. And order the new anthology, American Fiction, 2014, published by the distinguished New Rivers Press.
Poetry Editor’s Note:
I’m always fascinated by the process of how an issue comes together – begins to find a shape and form of its own. What happens, say, when John Blair’s poem, What Happens to the Future, suddenly finds it way next to Dwayne Martine’s, Artifact. Or what it’s like to read Len Krisak’s piece about a scarecrow festival in St. Charles, Illinois, juxtaposed next to Hedy Habra’s poem about protests in Gezi Park. Or what it means to consider Jacob Strautmann’s The Land of the Dead is Open for Business beside Geraldine Zetzel’s Survivor. And it seems fitting as we approach the winter solstice that the issue begins with the line: So, I have lost you, in a poem called Autumn, by Tran Nhuong, translated by Bruce Weigl and Nguyen Ba Chung and ends with this note from Geraldine Zetzel: Cold, let him not know/that I am to be your bride.
Ben Berman
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