Literary Magazine Prototype Project

This assignment is for my American Literary Magazine course. This assignment is a Literary Magazine Prototype, will be 2 pages in length, (and divided into multiple sections which I will elaborate on below). This assignment DOES NOT NEED a Works Cited, nor any citations. Original writing only. My dream Literary Magazine (prototype) is called The Defiant. It is World Literature based with a heavy emphasis on writing about lesser-known places and cultures. It will be open to everyone (new and established writers) from all countries. Fiction, Creative Non-Fiction, Interviews, Critical Essays, Poetry and Short Plays. PAGE 1 will be the Cover Letter. In this section, explain what the connection is between both McSweeney\’s and Guernica Literary Journals and my Journal Prototype The Defiant. What do all three have in common in terms of content, mission statements and aesthetics? What are the common links between all three? What can The Defiant do to make it to the same level as McSweeney\’s and Guernica? Specific examples, and please don\’t be repetitive. In other words, your pleading the magazine\’s case; Why should people give a damn about The Defiant? And how it could make a difference in today\’s world? In order to write this properly, you\’ll have to study both Guernica and McSweeney\’s journals extensively. Use the following articles/links to help better make those comparisons: https://www.guernicamag.comhttps://www.mcsweeneys.net Here is the Mission Statement: Launched in 2020, The Defiant is an upcoming literary magazine whose role is to be the champion of the ‘small’ guy across the world while leaving the door open for the accomplished writers. We are World Literature based with a heavy emphasis on writing about lesser-known places and cultures. We choose to bring you the stories others feel are too farfetched and less likely to attract a profit. We are open to everyone (new and established writers) from all countries. We wish to make everyone comfortable with us and for the experienced artists to get the chance to improve those joining the writing industry. We specialize in Fiction, Creative Non-Fiction, Interviews, Critical Essays, Poetry and Short Plays. On the second page, will be the \’About the Publication.\’ The About section should talk about the backstory of the magazine and further elaborate on why we exist and what was the inspiration behind creating it (hypothetically speaking). I want the writer to come up with a plausible make-believe background story as to why and how the publication came to be in existence (as well as using the following questions to help shape the statement: 1. Explain the background behind how publication got its name (The Defiant) 2. Was this journal created as a response to some urgency? Most literary journals come from someone experiencing a lack in a social scene or in literature at large. What lack was this journal filling? Does the journal speak to a social or political movement of its time? An aesthetic or academic movement? All of the above? 3. What was the context of the journal? Political, social or economic? What key aesthetics define the journal, and how does that relate to the content and contributors? 4. Distinguishing visual features of the journal? Design? Layout? Font? Artwork? Covers? Be very specific and address every part of the question. 5. Do all four issues have a unique or distinct theme? (The magazine is going to have four print editions for Winter, Spring, Fall and Summer. Come up with unique themes for all four). 6. Special features beyond Poetry/Fiction/Creative Nonfiction?   Bottom line is don\’t be afraid to be bold and creative, but at the same time come up with a realistic, yet entertaining anecdote (in other words, something that could have potentially happened in real life). Answer and address all of the questions. And finally, the writer will do an original sample poem. Something unique and creative that would seamlessly blend in to The Defiant as if it were a real literary journal. Pick one of the prompts below:  Build shelter in the moment before (Li-Young Lee, The Undressing, W. W. Norton & Company, 2018). The second section of “Our Secret Share,” a poem from Li-Young Lee’s most recent collection The Undressing, takes Indonesia’s social unrest of the 1950s and 60s as its backdrop—but Lee’s focus is not on “the killing,” which “has already started / and will go on into the night / and the next day, night and day, day and night” (42). Rather, the speaker conjures the moment before the violence, recalling an image of his sister being ferried across the Solo River by a boatman—she stands “still and straight beside her bicycle” as the reflections “slide along beneath them in the water” (42). By centering a fleeting moment of stillness, Lee underscores the permanent and unspeakable loss that lies just beyond the poem’s frame—but he also creates a safe harbor from which the speaker can safely reflect.Consider a key moment of dramatic tension or revelation. Write about this conflict through the lens of the moment before, developing the image or scene over at least fifteen lines. What happens to the “moment after” when the events that lead up to it have been slowed down and expanded upon through poetry? Stage a critical intervention (Paisley Rekdal, Nightingale, Copper Canyon, 2019). At the center of Paisley Rekdal’s most recent collection Nightingale is a lyric essay, “Nightingale: A Gloss,” that begins with the Greek myth of Philomela. Questioning Ovid’s retelling of the myth in Metamorphoses, in which Philomela is raped and mutilated by her sister’s husband, weaves a tapestry to communicate her assault, and is transformed into a nightingale, Rekdal asks, “Why should Philomela sing, when our presence only increases her suffering?” (50). By drawing from research on subsequent retellings of Philomela, Rekdal stages a critical intervention in the literary history of sexual violence. Bringing the speaker’s experiences and Rekdal’s own poetry into the conversation, “Nightingale: A Gloss” ultimately engages with the decision to put language to trauma, returning voice to the survivor: “I stand in the field. I whistle back” (54). Consider with your own relationship with a character from myth or legend. How have others engaged with this narrative in the past? How do your own experiences resonate or diverge? Write a poem in which you bring these different approaches and intentions into conversation.

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