James McMichael Reading and Our Next Cover!
For those nearby: frequent CR contributor (see our current issue) and National Book Award...
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Author: Cincinnati Review
Why We Like It: “Abeyance” by Amanda Lee Kallis
Rochelle Hurt: Hybridity is a topic of much discussion of late: hybrid cars, hybrid crops, hybrid dogs (the Goldador, the Peekapoo, the Schnoodle). It’s always exciting to encounter something that inhabits two seemingly separate...
Read MoreArt Song Recording: “The body remembers . . .”
Composer and poet Kevin Simmonds has provided us with a recording of his setting of C. Dylan Bassett’s poem “The body remembers . . .”. The score is featured in our current issue. As poetry editor Don Bogen...
Read MorePolicy Changes
Two of them. Sensible in nature (at least to us). First, as of January 1, 2016, we will no longer consider hard-copy submissions. By that we mean submissions on paper, sent through snail mail. We get so few now, it’s easy...
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Dear Committee Members reviewed
Here at UC, we and the rest of the English Department are anticipating the October visit of Julie...
Read MoreOngoing Subscription Offer
As a followup to Monday’s post, whereby we offered readers sample passages from our forthcoming fiction, we’re now presenting a poetry gallimaufry, as it were. AND we’ll make good on our subscription bonus till...
Read MoreSnifters of Snippets
Fall term is in full swing here at UC, and the halls are hopping. So is our office. We have two new staffers—Rochelle Hurt and Jose Araguz—as well as a fresh group of grad volunteers. We’re already in the thick...
Read MoreCR Sampler
Hey, everybody. The term starts next week, the winter issue is with the typesetter, and we’re already back to considering and reading submissions for our upcoming spring 2016 number. Actually we never stopped. It has taken...
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Song of “Sefiros”
At last we can present the recording of our “art song” offering based on Jakob...
Read MoreLingering with 11.2
Don Peteroy: In Vonnegut’s Slaughterhouse-Five, the narrator says “So it goes” 106 times. It’s a sigh; it conveys melancholy, and always appears after something—animate or inanimate—moves on. Similarly, throughout Stephen King’s...
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