I recently received the fall 2007 issue in the mail and it is as exciting and as cutting edge as ever.
“Cutting edge” is not a phrase many would think of attributing to the journal. It has always maintained a somewhat staid persona, but this has always been deceptive. The contents have always brought new, bold and progressive authors and artists to the attention of the literati. The current issue is no different. The cover is a striking image that, with a casual glance, you might think is a Vermeer painting. In fact it’s a photo image by the photojournalists Kael Alford and Thorne Anderson whose work is the featured art in this issue.
In 2005 both Alford and Thorne, along with two other photojournalists, produced a book that includes some of the photos that appear in The Georgia Review. The book, published by Chelsea Green Publishing, is called Unembedded: Four Independent Journalists on the War in
It’s not just the Review’s art that is “edgy.” The literary stuff is too. For me, one of the highlights of this issue is the first published fiction of
Ray has made an impression with such nonfiction works as Ecology of a Cracker Childhood and Wild Card Quilt: Taking a Chance on Home. She has appeared on Cover to Cover, March 2000, and certainly made an impression on me.
Her contribution to the Review is a fiction piece entitled Pilgrimage. Ray proves that she’s a literary heavyweight by conquering both literary nonfiction and now fiction. She’s a
Ray is not the only
In the Review, Johnson contributes an extended critique of five recently published short story anthologies entitled The Best and the Briefest.
The issue contains the usual mix of fiction, essay, art, poetry and reviews, and it also marks a milestone. For thirty years, Gerald Weales has contributed his annual fall American Theater Watch. Weales is an octogenarian who completed his Ph.D. at
I noticed on the title page of this issue that there’s a new member of the Review’s editorial board. Sarah Spence is a professor of Classics at UGA. Her research interests focus primarily on Vergil’s Aeneid, but she is also an expert on the literature of Medieval France. (She was also my major professor when I was working on my Ph.D. at UGA. I’m embarrassed to say that I never completed my dissertation and I know this must have been a great disappointment to her).
For eight years Spence was the founding editor of Literary Imagination, the official journal of the Association of Literary Scholars and Critics. Both the ALSC and Literary Imagination began as a reaction to the trend in American literary studies away from the beauty of the text itself to the social contexts of such art.
Spence is one of those critics who believes in the primacy of the literary text above all else. Her addition to the editorial board of The Georgia Review can only mean good things.
The Chattahoochee Review is published by
The spring/summer 2007 issue of The Chattahoochee Review features a special focus section on
The special section also includes articles by Hugh Ruppersburg and Terry Kay. Ruppersburg is the Senior Associate Dean in the
Terry Kay’s contribution is “Some Thoughts on Reece, Religion and the Dramatic Moment.” While unusual to see a critical rather than literary piece from Kay, no one is more familiar with or more qualified to comment on Reece’s work. Both authors share a common heritage and a developed literary vision, and both come from
Mildred Greear, a member of the Byron Herbert Reece Memorial Advisory Board and resident of
There are other
There are also poems by two faculty members teaching literature and creative writing at the
Robert Parham, Dean of the College of Arts & Sciences at
Even though The Chattahoochee Review is a national, even international, review, this issue is well-represented by
I hope the preceding shows you the breadth and depth of the literature that is published in this state and spurs you to rejoice in
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