A collection of poetry exploring Eastern and Western culture.

The Transnational publishes poetry and essays from authors from around the world. Texts which are published in the Transnational can dissolve existing boundaries or suggest new ones. They can make us question our beliefs, champion social justice and human rights, war and psychological violence, giving rise to provocative or soothing thoughts. The magazine is bilingual (English and German) . The Transnational is not commercial as well as financially and politically independent.

Editor: Gordon Grigsby Associate Editors: Jan Schmittauer, Matthew M Cariello, & Donna Spector Managing Editor: Barbara Bergmann Evening Street Review is published in the spring and fall of every year by Evening Street Press. United States subscription rates are $24 for one year and $44 for two years (individuals), and $32 for one year and $52 for two years (institutions). ISBN: 978-1-937347-04-8 Evening Street Review is centered on the belief that all men and women are created equal, that they have a natural claim to certain inalienable rights, and that among these are the rights to life, liberty, and the pursuit of happiness. With this center, and an emphasis on writing that has both clarity and depth, it practices the widest eclecticism. Evening Street Review reads submissions of poetry (free verse, formal verse, and prose poetry) and prose (short stories and creative nonfiction) year round. Submit 3-6 poems or 1-2 prose pieces at a time. Payment is one contributor’s copy. Copyright reverts to author upon publication. Response time is 3-6 months. Please address submissions to Editors, 2881 Wright St, Sacramento, CA 95821-5232. Email submissions are also acceptable; send to the following address as Microsoft Word or rich text files (.rtf): editor@eveningstreetpress.com. For submission guidelines, subscription information, selected works, and news, please visit our website at www.eveningstreetpress.com. Cover photos: North Cascade Mountains, WA; small city, OH. Words from Robinson Jeffers, “How Beautiful It Is,” The Beginning and the End, 1963 © Copyright 2011 by Evening Street Press. All rights revert to author upon publication.

Printer's Devil Review is an independent, open access journal of literary and visual art. We provide emerging writers and artists with access to publication and inquisitive readers with new voices and visions.

dirtcakes is a triquarterly journal of creative nonfiction, poetry, art, and photography dedicated to exploring themes suggested by the UN Millennium Development Goals to end extreme poverty by 2015.

Featuring the best fresh talent in art and literature from around the world. Including the work of: Jacob Cozens, Roy Mollor, John Stocks, Benjamin Corey, Hannah Scully, Jessamy Hadfield, Changming Yuan, Howie Good, Joseph Milburn, Martin Eccles, Wade Lewis, Matthew Pickering, Coilfhionn Birley, Marie Mittmann, Zoe Mollly, Maddy Venus, Daniel ridley, Melanie Hunter, Holly Day, Roberto Carcache, Hermione MacMillan, Holly Day, Keith Moul, Gary DUncan, Zachary Hamilton, Nina Kurt, Zara Clarke, Sharon Bishop, Michael A Arnold, Chloe Burke, Bethany Rogers, Rob Battersby, Sophie Whitehead, Felicity Powell, Saschk Drakos, Fay Codona, Kat Zufelt, Maria Abbott, Sarah Skinner, and Samantha New.

Brought to you by Blinking Cursor Literary Magazine, The Blinking Anthology showcases poetry and fiction from writers worldwide.

The second annual Carcinogenic Poetry print anthology, featuring over 90 indie writers from around the world.

Written on four continents and read on six, the works in this anthology celebrate the birth of a new literary form: the tweet. Ironically, the 140-character limit of the Twitter platform has inspired new and veteran writers alike to stretch traditional boundaries. Some experiment with abbreviated poetic forms. Others create back-story through innuendo. All make every word—every character—count. This collection will introduce you to 43 of these pioneers who venture out each day onto text's narrow windowsill. Come, join them, and sit a spell. There's room.