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News
Ragaire, a new Irish literary magazine championing inventive and imaginative writing, encouraging readers to explore new pathways in poetry and prose, will be launched in Galway.
The first issue of Ragaire Literary Magazine, founded by Galway natives Cormac Culkeen (North Galway ), Tara O’Malley (Connemara ) and Aileen McCarthy (Galway City ), will be launched in The PorterShed, Market Street, Galway City, on Friday, May 24 at 6:30pm. There will be a selection of readings at the event from contributors to the debut issue.
‘Ragaire’ is an old Irish word for a person who enjoys late-night wandering and exploring. It embodies the new magazine’s determination to break the mould in the field of Irish literary publications.
“We want to find and promote writers who travel the road less taken and literary work that contains something different in content, structure or form,” says Cormac Culkeen. “We want our magazine to be a light for those travellers, a place to bring their poems and stories, those lines of life.”
The first issue contains 10 short stories and 28 poems, and was drawn from around 800 submissions. It contains work by Galway and Irish writers like Fred Johnston and Neil McCarthy, as well as a host of international writers from across the globe. The collection concludes with ‘Two Poets On The Go Bus’, a tribute to the late poet, critic and activist, Kevin Higgins, by Galway writer Attracta Fahy.
Are you ready to take a trip?
Elastic, a biannual print magazine of psychedelic art and literature that will debut in spring 2025, aims to publish art and writing that’s “immersive, dreamlike, daring, genre- and time-bending, and that acts to expand the mind and the vast possibilities of narrative.”
Founding editor-in-chief Hillary Brenhouse was previously the editorial director of Bold Type Books and editor-in-chief of Guernica magazine. She’ll be joined by editor Meara Sharma, formerly the editor-in-chief of Adi magazine, and a body of contributing editors and artists that includes Jaquira Diaz, Amanda Gunn, Laura van den Berg, Jia Sung, Amber Sparks, and Darian Longmire. The magazine is being supported in part by grants from UC Berkeley and Harvard as part of their Psychedelics in Society and Culture initiative.
The Nature Writing Prize for Working Class Writers returns for its fifth year, offering one year’s free membership to Campaign for National Parks, a £300 paid commission to write a National Parks-inspired piece for Viewpoint Magazine and an Arvon course of choice.
The winner will also receive three one-hour mentoring sessions with a Gaia commissioner, a one-hour mentoring session with a literary agent and a book bundle from Octopus Publishing Group.
The prize, which aims to break down barriers, was set up in 2020 by the writer Natasha Carthew to create opportunity for working-class nature writers of fiction, non-fiction and poetry. It is supported by Arvon Foundation, the Campaign for National Parks and Gaia, an imprint of Octopus Publishing Group. The prize is free to enter and encourages self-identifying working-class writers from all over the UK, whether they live in the country or in towns, cities and other spaces.
Focuses primarily on nonfiction in the categories of business, personal development, self-help, pop culture, science, technology, history, and parenting. She is looking for breakthrough thinking, experts with a fresh voice, and new approaches to solving the problems people face daily. She is especially drawn to books that help others be their best self and succeed in both their professional and personal lives. She is based in New York.
Articles
In the latest “Craftwork” episode, Declan Meade talks with Brad about starting and editing a literary magazine. He is the founding editor and publisher of The Stinging Fly, one of the world’s premiere literary magazines, based in Dublin, Ireland. You may have read about Declan and The Stinging Fly in the New York Times back in April 2023, in a feature story by Max Ufberg.
Brad Listi: What about for people listening who might want to submit, but also people who might have an interest in starting their own magazine? I’d be interested to hear you talk about the editorial process when somebody gets a yes, and what in general the editorial process entails at the Stinging Fly. I have to believe that it’s lovely to get a story where you feel like it’s almost all done. And usually I think when a writer is in command of the work, there usually isn’t a ton to do. But are there instances where the work is like 75 percent of the way there, and in the editorial process you get the rest of the way? What does it look like for somebody who gets a yes to work with you in an editorial capacity?
hristian Lorentzen, the former book critic for New York Magazine, is a longtime contributor to Bookforum, the London Review of Books and Harper’s Magazine.
I was the boy who loved magazines. At home, my parents would confiscate the copies of Mad, Ray Gun and Spin that came in the mail, forbidding me from so much as looking at them until I finished my homework. My appetite for glossy pictures, for clever cartoons, for punning prose — for all the intelligence I couldn’t find in my small town or on television — had to be suppressed, lest I fail out of school. (So thought my mother.) Even now, the arrival of the latest issue of the Baffler or New Left Review feels like an event: a new vision of the world as seen by many minds, wedged between two covers.
But the American magazine is in a state of decay. Now known mostly as brands, once sumptuous print publications exist primarily as websites or YouTube channels, hosts for generic scribblings, the ever-ubiquitous “take.” Meanwhile, a thousand Substacks bloom, some of them very good, with writers in the emancipated state of being paid directly by their readers. Yet even in this atomized, editorless landscape, perverse incentives apply. Are you thirsty for another post about cancel culture or wokeness? Me neither. Yet culture war still largely rules the day.
The Moth may be departing, but there's no shortage of other outlets for writers seeking publication. Here are profiles of a few of them
Who, in their right mind, would start a literary magazine? Plenty of people, it would seem, if the growth in publishing outlets for new writers, particularly online, is to be believed. While they’re often seen as a kind of cottage industry, small literary magazines are part of a bigger picture.
They provide a temperature check of the cultural climate, they’re a resource for talent-scouting publishers and a first stop for the big names of the future. Sally Rooney’s work, for example, first appeared in The Stinging Fly (see panel) so their influence is often way out of proportion to their size.
We spoke to three journal editors at varying stages of the process to find out what possessed them to enter the perilous world of literary publishing.
For avid readers, sometimes books can lose their appeal. You might get burned out or are unable to find the joy in keeping up with all the latest book releases. You could take a break in reading altogether, but there are other opportunities to level up your reading skills while putting your eye for detail to good use. One of those opportunities to become a literary magazine reader.
I had the great privilege of reading for two literary magazines in the past — The Missouri Review and The Masters Review — and both experiences proved invaluable to me as a reader and writer. It opened up my eyes to the blood, sweat, and tears that editors and readers put into these small but mighty publications. From a writer’s perspective, it also created an added respect for editors.
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