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VIDA is an amazing organization for women and on Wednesday, June 10th, the Atlas Reading Series will celebrate with some of its amazing organizers. Conveniently they are also incredible writers. Join us for a night of utter magnificent women. Art TBD:
AMY KING
METTA SÁMA
LYNN MELNICK
CAMILLE RANKINE
RSVP here!

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The Atlas Review needs some help! We’re currently looking for some bright and ludicrous energy to contribute to the bright and ludicrous Atlas staff. Are you engaged in the lit community, do you therein look at how we might dismantle institutions that support white supremacist/patriarchal practices, do you spiral and vault and arch and panic when you read certain authors and words in books and magazines and blogs and do you take great pleasure in that bodily sublime, and are you alive to the dreadful politics of being alive? What about this Simone Weil quote, “To see each human being (an image of oneself) as a prison in which a prisoner dwells, surrounded by the whole universe.” I mean, right? Then my goodness would we like to talk to you!
Consider raising your voice real high and apply for these volunteer-based opportunities! (We are all volunteers—I, the founding editor and publisher, ate a deli sandwich while typing this in gym clothes at 8:49pm on a Monday restless to the crippling new wave of 32 hours still inside this workweek so I can support this beautiful venture). (Which is to say, we never expect you to complete heavy workloads—just what you can when you can. Hustle, hustle).
Image by Michelle Macinsky, from issue 4
Readers
We’ve begun our reading period for the TAR Chapbook Series for chapbook-length books, and will soon begin reading for our biannual literary magazine. We publish work that goes against the grain, blurs genre, and highlights otherwise marginalized voices. We ask that our readers share this ethos, and that they be diverse in range and background. As with every position on staff, this is a volunteer-based position; however, you’d be part of a great group of writers and thinkers, plus our monthly meetings are super fun—free pizza! Pizza abound, this can also be a remote job. All you need is a Submittable account! Interested? Send a brief intro about yourself our way that includes any editorial experience, your genre preference, your contact info, and a list of contemporary books you enjoyed at theatlasreview [at] gmail [dot] com. We’re so excited to hear from you!
Events Coordinator
We are seeking a big personality and total ham to be our new Events Coordinator! The Events Coordinator would organize and host our monthly reading series, the Atlas Reading Series, a text-art collaboration that takes place at 61 Local in Boerum Hill, Brooklyn. They would also organize and host upcoming launches, special events and festivals, and whatever else might come our way! Big ups if you have attended our events. Maybe you heard about the Solaris marathon we co-organized with Marina Abramovic Institute two summers ago? Yeah, that was a lot of work! But we did it as a team. So you would also be someone open to collaboration who doesn’t hold their cards too close to their chest! You are also someone who is pleased as plums to uphold our reader rules: No event can be majority men; no event can be all white. 
As with every position on staff, this is a volunteer position, but you […]

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 We are so happy to announce our first chapbook series! Publishing under the acronym for our name, TAR chapbook series will open up its reading period on June 1st and close August 1st.

 
 
 About TAR Chapbook Series
The work we have read for the magazine these past two and a half years has inspired us to crave more and more pages of your voices. We want to impart the same beautiful, design-savvy creations from the magazine to the physical pages of a chapbook. Selected manuscripts will have a small print-run, and they will receive 20 contributor copies plus payment. Maybe that chapbook is yours!
Within each genre of poetry, fiction, and nonfiction are three forms of submission, none of which has any extra impression on us. We invite you to submit your manuscript for free, with donation, or with a purchase of one of our issues. To this end, we are humbly putting the readers fee option here so that we may better pay our contributors. That’s right—we will pay our chapbook authors. 

Guidelines
The chapbook series will continue with The Atlas Review‘s mission of remaining anonymous. Work should push against the status quo and challenge us. You may submit a manuscript between approximately 20 and 30 pages. Please read all the guidelines specific to each genre. Submissions should include the following:

20 to 30 page manuscript free of any identity-revealing information.
Dress your manuscript up with a title page, table of contents, and whatever else you would like to include. Acknowledgments page optional. Please use a readable font in 12-point. Times New Roman is always master of the house, but an equivalent is fine.
You can include a brief cover letter that describes this particular manuscript’s agenda/thesis/mission. This is absolutely optional. Still, do not include your name or any identity-revealing information here.
While we can’t stop you from including clipart and borders, we ask you to question your motive here: what even is that about?

We hope to have a final selection of manuscripts by the end of August, early September. We can’t promise response time will be this soon, but we will try. We feel ambitious enough about this, but plan to be going to the beach too (except Dolan—he hates the beach). Should there be any delays, we will be in touch with updates!
We’re so excited to read your chapbooks!

Submit Your
Work Here
(Submittable)

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An Interview with Kate Durbin
by Eric Nelson
For issue 5, writer and friend Eric Nelson conducted an interview with the furious writer/performer Kate Durbin via Skype while she was staying in London. The extremely talented Emily Raw‘s photos appear both in the print edition and in the conversation below, all taken during Kate’s performance of Hello Selfie! in Union Square, NY. Kate Durbin is the author of the collection, E! Entertainment, available at Wonder Books. Unsurprisingly, she is busily at work on a new performance project on women artists called Cloud Nine. Below is her interview with Eric Nelson.

 
Photo by Emily Raw
Kate Durbin:  Hi Eric!
 
Eric Nelson:  Hi! So good to finally talk to you.
 
KD:  You too! How are you this morning?
 
EN:  Pretty good, surprisingly awake, ha. How about you? How’s England?
 
KD:   England is lovely. I’m in the countryside, so there are llamas and geese outside the window. Did you know geese honk while they are flying?
 
EN:  It’s funny because anytime I’ve seen geese fly I’ve heard them honk but I never put two and two together.
 
KD:  It’s cute.
 
EN:  So what are you doing over in England? I know Miami Basel just happened. It seems you’re traveling a lot lately.
 
KD:  I’m here visiting my parents. I was thinking of doing a version of “Hello Selfie” in London but I decided to spend this time writing (and working remotely—I’m always working, gotta get paid). I’ve been reading a lot too. I just finished The Exorcist, and now I’m starting The Castle.
 
EN:  I totally forgot The Exorcist was a book originally.
 
KD: There are some very cool priests in The Exorcist. I like it because usually priests are painted in a poor light, like they are all pedophiles.
 
EN:  And in The Exorcist the priest makes the ultimate sacrifice.
 
KD:  Yes, it’s about a love that is larger than life.
 
EN:  I had my photo taken as a child right at that staircase in Georgetown where he throws himself at the end of the film.
 
KD:  Whoa, you were a cool kid!
 
EN:  Haha, nah, I was the kid with a big, fast mouth. It’s funny you brought up how you’re always working because one thing I’m definitely curious about is what you do to get paid. Are you still teaching at all?
 
KD:  I do teach. I teach in person and online. I tutor as well, and I’m getting into acting as another way to make money.
 
EN: What medium of acting?
 
KD: Commercials.
Elizabeth Mputu; Photo by Emily Raw
EN: When did your parents move to England?
 
KD:  They’ve been here seven years. My dad was a project manager for the Olympic Park.
 
EN:  I know you attended a Christian high school in Arizona as a teen. What was that like
and has that experience had any effect on your work, like the “Girls, Online” project or “Hello, Selfie?”
 
KD:  I think it has. I had a really awful experience in high school. My school was very small and strict and conformist. And because the Internet was just beginning at that time, with only chat rooms really, I felt very alone. I found my people through going to punk shows at this underground club called “The Nile.” I also read a lot […]

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An Interview with Valeria Luiselli
We had the esteemed honor of interviewing Valeria Luiselli for issue 5, our most recent issue. Luiselli’s latest novel, The Story of My Teeth, published last month from Granta Books. Chief editor Natalie Eilbert visited Luiselli in her Harlem apartment this past winter for the following conversation.

 

 
Natalie Eilbert: I first read Faces In the Crowd a couple months ago. I had seen you with Leslie Jamison at Community Bookstore and had already picked up your book and I thought, OK, great, can’t wait to read this, and then I also noticed, Sidewalks. They were both published by Coffee House. It’s really amazing that you’ve had two in one year. And then I read both of them and felt like there was such an overlap of ideas in the novel and in the essays, and I loved that there was this rich intersection between fiction and nonfiction. I love that it made me question which is the real Valeria and which is the young woman in the novel. Do you find yourself having to clarify your identity often?
 
Valeria Luiselli: I guess I did get that question a lot when the book came out, especially when it came out in Spanish. I wrote Sidewalks in my early twenties, but only published it in 2010. I wrote the novel sometime between then, and Sexto Piso published it in 2011. Here in the US, the two books were published at the same time, for many reasons I guess. My editor at Coffee House Press noticed the continuity and intersections between the two. At first I thought it was really strange to have two books coming out at the same time. But readers have done what you did, which is to read the books back to back and in fact discovered the bridges between the two. And yes I did get the question, especially in Mexico, when the novel came out. People wanted to know if it was autobiographical or self-fiction or what it was. I always rely on my biographical material—more than on my history, on my everyday-ness— to compose what I’m writing. I’m always hearing the sounds around me or just very conscious of the space that I’m writing in. I’m very conscious of my being in space, and that comes into my writing. In that sense, yes of course, all my writing somehow comes and springs from my everydayness, but it’s not autobiographical.
 
NE: Right, there’s an imprint of truth there, emotionally.
 
VL: Always.
 
NE: There’s the objective correlative in there, you have the imprints of your story.
 
VL: I like the way you’re phrasing it. There’s an imprint. There’s a trace or an index, as academics would say. But it’s not the story of my life that I want to tell. I’m too young to say anything of interest about myself.
 
NE: Right, right. Christina MacSweeney, is that someone you had first contact with or is that someone Coffee House commissioned for you?
 
VL: Neither of the two. Christina was a reader for Granta […]

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Issue 5 Launch Party!

May 5, 2015

Put on your thermal goggles and hazmat suit. Issue 5’s mighty awesomeness has leaked into the atmosphere and it is only a matter of time before everyone is affected by the complete and utter wilderness of this issue. Symptoms may include feral tendencies toward flowers, academia, trees, dudes named Bob, marriage, Pokemon, and Sailor Moon, and an ebullient spirit towards the grotesque. Expect otherworldiness, gold light, sudden remarkable club scenes.
Join us at Book Court for a wild night of readers from The Atlas Review’s freshest fifth issue! Friday, May 22nd. Wine and smacks will be served.
THE PLAYERS:
Debbie Kuan
Hilary Leichter
Serena Solin
Rita Bullwinkel
Lillian-Yvonne Bertram
Roberto Montes
Andrew Cothren
Sarah Sala
Maya Weeks
Nicole Miller
Laura Kochman
RSVP on Facebook!

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There is a special guns & butter for anyone who has ever witnessed a binary star. Those hiccups you heard were but a murmur in the inventory. Let us consider the new testament of being here in a world that wants nothing to do with us. This is all to say:
Prepare yourself for something really, really, really special.
Sarah Gerard, with art by Lily Baldwin
Montana Ray, with art by Nalini Edwin
Erica Lewis, with art by Mark Stephen Finein
Joe Pan, with art TBD
RSVP on Facebook!

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Interview with Maggie Nelson
 

 
This interview was conducted by Molly Rose Quinn for issue 4 of The Atlas Review, which you can buy literally right this moment if you so desired. Today marks the shiny pub date of Maggie Nelson’s much anticipated forthcoming book, The Argonauts, referenced in this interview.

 
You are the author of four books of poems, two books of criticism, a memoir, and a book-length essay in numbered segments. Your forthcoming book, The Argonauts (Graywolf 2015), is described as a “hybrid account.” Poets and nonfiction writers hope to claim you in equal measure. Does the “topic” of a book mandate its form? What form(s) does the new book take?
 
Form is a trial and error thing for me. It doesn’t typically come first (unless it does). I often want to write about something, or find myself writing about something, and then have to try out the material in various ways, until the form feels right, takes off. Until the form and content merge, as it were. Sometimes they are already merged upon arrival; sometimes there’s a lot more swinging from vine to vine. The Argonauts, should that stay its name, is, well, I don’t know what it is. It’s in prose, and it has one skin, no breaks, no joints. Actually I guess it has little breaks throughout, white space between paragraphs or sets of paragraphs, the way a snake has a pattern that restarts on its skin. But fundamentally it is all one flow. It’s similar to Bluets in some ways, but the numbers of Bluets agitate against its flow, and Bluets had a faux-formal tone that this book doesn’t have. I imagine some will call the new book a long essay. It’s an experiment with anecdote and lived theory. All that really matters to me is that it eventually found the form the material wanted or needed or could come in.
 
Are you saying that, as “an experiment with anecdote,” the book’s unbroken flow was suited to its theoretical explorations?
 
I don’t quite know what I’m saying. It’s all pretty visceral, the actual composing — it’s more like you can look back at a book and say, this was suited to that, but that’s Monday morning quarterbacking, or whatever the expression is. I will say, in the case of my forthcoming book, I was trying to smoosh things together that aren’t always smooshed — namely, a discussion of pregnancy and a discussion of queerness, loosely defined — so that smooshing didn’t seem like it would be very well accomplished with breaks or chapters. The form had to perform a certain insistence: this IS related to that, disparate as these things may seem. Trust me by following me through.
 
Does this speak to your editing process as well? Bluets pulses forward in an evident collaging of propositions and narrative. Did you rearrange it as you wrote? Would you say the new book is similar?
 
Both Bluets and this book were rearranged endlessly. Lately this rearranging has been driving me crazy. I feel desperate for the […]

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Founder and editor, Natalie Eilbert, debuts her first collection, SWAN FEAST, on sale for preorder from Coconut Books. Check out her super weird book trailer, and order your copy today!

 

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Sometimes you answer a phone and it is so frozen all you hear on the other end is a lion. Or maybe that’s just what March is like. Before you pack your bags and head to Minneapolis for AWP, why don’t you join us for our 26th reading at our favorite place, 61 Local? You’ll want to be here and hear:
Juliana Wang, with art by Taeyoon Choi
Eric Nelson, with art by Claire Lachow
Raquel Gutiérrez, with art TBD
Wayne Koestenbaum

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