The crew here at NDQ is happy to have survived another chaotic year and managed, but just barely, to have produced two robust volumes of fiction, poetry, essays, reviews, and art. The entire editorial staff sends along its appreciation for everyone who entrusted us with their work and took the time to submit, subscribe, and read a copy of the journal during 2021.
In a time where our attention is at a premium and there were so many things demanding it, it was very gratifying to see that so many people took the opportunity to stop by the NDQ website to read something. It was especially exciting to see that NDQ 87.1/2, which we made available for free in 2020, has been downloaded nearly 3,500 times since then. (And we know that downloading is just about like reading).
This year, we have posted 62 times to the NDQ blog and it seem inevitable that some folks might have missed something.
If you’re look for a story to read over the long weekend, you might consider Ian Woollen’s “The Story I Tell Myself,” Kareem Tayyar titled “Through the Window”, Jayne Wilson’s short story, “Dynamite,” Katie Edkins Milligan’s story “Witness,” or Kathleen Lynch Baum short story, “A Spy in Vienna, Seduced.” It’s be remiss if I didn’t mention our non-fiction editor Shelia Liming’s first published piece of fiction, “Kept Company.”
If you’re more in the mood for poetry, we feel like we have you covered there too. We’re very privileged to feature works by North Dakota’s associate poet laureate, Bonnie Larson Staiger. Do also read Lindy Obach’s “Red Poppies,” Kelvin Kellman’s poem “Black Woman,” Evan Anders’s “I ritual,” and David R. Solheim’s “North Country.” I have a soft spot for Sanjeev Sethi’s poem “Chronicle,” Lane Chasek’s “Surviving Mardi Gras,” and John Walser’s “Chronoscope 181.”
I’d be remiss if I didn’t also not a few more very special works. First, Ana P.’s poetry of erasure was a bit too rough and immediate in form to appear in on the page in NDQ, so we agreed to publish it on our website. Our poetry editor Paul Worley worked especially hard to bring us some of the poetry of Dan Quisenberry with a poignant introduction. And finally, for those yearning for a bit of summer, do check out our late poetry editor, Donald Junkin’s series of poetic reflections on his summer at Swan’s Island in Maine.
NDQ has also long been known as a destination for high quality essays. Mike Miley’s essay, “It Hardly Hurt a Bit,” and Katrin Arefy’s essay “The Day the Sun Didn’t Rise” carry on a tradition visible in the works such as Eric Sevareid’s “The National Crisis” and this interview with the late poet Amy Clampitt. And keep an eye out for more essays and some reviews appearing on the blog this spring.
Finally, it is a special pleasure to share the covers of each issue. If you don’t have a physical copy, you can still enjoy the cover of 88.1/2 and 88.3/4.
Each time I post here to the NDQ blog, I include the following statement: As you likely know, these days are particularly challenging for many cultural institutions, publishers, and little magazines. So even if NDQ doesn’t float your boat, If you can, consider buying a book from a small press, subscribing to a literary journal (like our UNP stablemate, Hotel Amerika), or otherwise supporting the arts.
Today I’ll add an additional inducement. If you’re thinking about submitting something to NDQ or subscribing and want to make sure that the journal is right for your work, drop me an email at billcaraher[at]gmail[dot]com and put “NDQ Issue” in the subject line (so your email doesn’t get lost in the shuffle). I’ll respond (very quietly) with a digital copy of our most recent issue (with no questions asked and no obligation.)
Happy New Year!