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Dear readers,
 
We are excited to release our inaugural online issue—and you’ll notice a feature right away, and that is, we made the decision to divide Issue 6 into many “episodes” over a period of time. Think of it like a Netflix drama. Or perhaps more precise, like a pre–Netflix television series on cable, where you must wait for the next installment with bated breath. Whatever your preferred metaphor, the germ of this idea is simple. For Issue 6, we accepted approximately thirty pieces of poetry, fiction, and nonfiction. As had been our heretofore process, we wrote rich letters to all accepted contributors and switched gears from readers to production staff. Unlike previous iterations, we had already determined we would no longer be in print. Printed matter tends to languish, only being savored by the few. This is an unfortunate reality to any paper effort and one struggle we decided was an unnecessary one to continue battle. Why vote once when you can vote twice? So we compromised on our desire for the physical object by announcing our new project, TAR Chapbook Series. We would create beautiful, small-print runs of already-immaculate chapbooks, establishing the urgency of artifact; we would create a gorgeous and completely visible online platform for our journal contributors, establishing the urgency of voice; and, with the money saved in not printing hundreds of issues, we would pay (albeit a nominal amount) all of our contributors. It’s a superb win on all fronts, we think, and we hope you feel this too
 
Now, onward the actual contents of Issue 6, episode 1. Our technologist, Jue Yang, worked tirelessly after many awesome conversations over the last few months with web designer extraordinaire Angela Protzman and myself to produce the looks and feels of the new interface. We wanted readers to feel entirely immersed in the experience of reading this innovative, often genre-melting work. And with this immersion, we did not want readers to feel at any point daunted by the mass quantity of extraordinary work (and to be sure, it is all extraordinary). That is the most essential of desideratum—our desire for others to truly engage the work, the internalize and meditate on art with space still to breathe. Think of it as a museum made up of many galleries, should the Netflix metaphor not be adequate (and of course, it’s not). In these lavender and orange and pink and green and blue rooms, we present you with our first episode’s contributors, Kofi Opam, Tafisha Edwards, Diane Exavier, Shauna Barbosa, Adrian Silbernagel, Theis Ørnthopf (translated by Julia Cohen and Jens Bjering), and Ruth Baumann. It is absolutely a curated house—each of these pieces travel our senses down the body’s viscera, the alien village, the intentional animal of our curiosities. As Kofi Opam tells us in their heartbreaking essay, “Dating Dysphoric,” “Let me tell you about bodies, and about blood.” “Take your bloodless / body back to bed and forget // you have a voice,” Tafisha Edwards seems to reply in “How to Drain [...] Continue Reading »
 
As a very new chapbook press, we couldn’t be more ecstatic to convey the multitude of ways in which our first chapbook, Mike Lala’s In the Gun Cabinet, operates. It is a book arranged by lyric urgings, lush images of static and lips, and even a one-act play. To communicate all the mediums of the book in time for its release, we decided to show you In the Gun Cabinet three ways: a sampling of the first section of In the Gun Cabinet, an interview with Mike Lala about the chapbook process, and a stunning book trailer created and edited by chapbook cover designer Emily Raw. If that doesn’t whet your appetite, you might not have insides, and that might make you a robot. As a robot with the sophistication to process and read language, we should all be very concerned about the future of humanity. Just kidding, we should all be very concerned about the future of humanity anyway. Here’s Mike Lala with more on that . . . :
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Introducing TAR Podcast!

March 7, 2016

 
We are excited to announce TAR’s first-ever podcast, edited by madam podcast-a-lot Amy Brinker (we really need to figure out a clever title name—tweet @theatlasreview with your bright ideas [but also know that Amy is precious to me and the publisher will break your nose if it isn’t 100 percent complimentary]). We will be interviewing TAR contributors near and far who have recently come out with books. This will also be a time for Amy and Natalie to drink wine and talk into a mic and generally do whatever we (I mean they) want with whomever. Anyway.
For our first episode on TAR’s podcast, Amy and TAR publisher Natalie Eilbert sit down and chat with issue 2 contributor Jay Deshpande, whose first book Love the Stranger is out now from YesYes Books. Buy your copy here!
I updated one of the tags of this post to include “great poet wedged between two goobers on a couch” and, well, here is a literal depiction of that tag (with special guest Meeko from Pocahontas):
Great Poet Wedged Between Two Goobers on a Couch.
On this podcast, we talk about Chet Baker, Denis Johnson, Kim Kardashian, quiet poems, academia, and Vin Diesel. We can’t think of a better list of characters and themes to sum up this episode. Also, Jay’s pretty brilliant. Have a listen!
Jay Deshpande is the author of Love the Stranger (YesYes Books), named one of the top debuts of 2015 by Poets & Writers. A Kundiman fellow, he has held residencies at the Saltonstall Arts Colony and the Vermont Studio Center, was a fellowship finalist for the Fine Arts Work Center in Provincetown, and was selected by Billy Collins for the 2015 Scotti Merrill Memorial Award at the Key West Literary Seminar. His poems have appeared in Narrative, Boston Review, Sixth Finch, Atlas Review, Handsome, Spork, Prelude, and elsewhere. He holds degrees from Harvard and Columbia. Born in Austin, Texas, he now lives in Brooklyn.
 

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A Tribute to PJ Horoszko

March 4, 2016

 
In honor and in tribute to his brief but spectacular time with us, we have designed broadsides based on PJ Horoszko’s two poems published in issue 4 of The Atlas Review. For friends, loved ones, or anybody in admiration of his work, we will print and ship both “Neighborhoods” and “Poplars” free of charge.

The linework in PJ’s poems is always so clean and geometrical, but within that crispness belies a subject matter that dismantles as it dazzles over time. We wanted to communicate his methods by utilizing an inspired minimalism for the broadside.
We are thankful for his gift and we want as many to have that gift as possible. While we are sorry to say this is a limited offer, we want to be sure we do right to the legacy of his art. Rest in peace, PJ.
To order one or both broadsides, simply email theatlasreview [at] gmail [dot] com with your name and shipping address. We will need time to order your print and ship it, so we ask for your patience.
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