When our RHINO Poetry editor, John McCarthy, my partner, and I had breakfast together, we talked about atheism; perhaps, poetry as a kind of religion. John mentioned the poetry collection, The Necessary Poetics of Atheism (Twelve Winters Press). Their conversation was really interesting; however, I had to leave for my early lecture for the North American Review Writing Conference.
Even though I had strawberry waffles for breakfast, I could not resist a welcoming pastry at a reading room in the center of Seerley Hall at the University of Northern Iowa. There were a few people in the beautiful, gigantic room, but one person was playing the piano. It was a perfect morning with a chocolate croissant, hot coffee, and impromptu music.
The pianist was Jeremy, the author of The Necessary Poetics of Atheism!
Later that year, my graphic poem, "Protest Against", was accepted by the North American Review. In Final Thursday Press, the editors described my piece as, "The poem is a dance of boxed handwritten texts, my first love letter hid origami paragraphs, against Picasso-esque figures and face that populate the page. Red spills across the middle of the poem, and I love the way it takes the reader in, first visually and then through text."
"Protest Against" was not an easy piece to be welcomed because words, sentences, & images each had a message (protest against this current society). However, they seemed like random ideas together. I was really happy that the editors accepted my original concept and interpreted it as their own thoughts.
It is important to respect our traditional publishing style, yet I really think that we need no boundaries for our poetic forwardness. I respect the way that the North American Review is approaching their work.
The North American Review Gets Graphic
J. D. Schraffenberger
After many decades as a glossy magazine with black and white interior pages, in 2019 the North American Review rebranded itself, a process through which we not only thought deeply about what our mission and goals are, but also what our visual and material identity was going to be going forward. As guiding principles, we asked how our magazine could be more open, how it might invite and support eclectic and diverse writers and artists, and how this work can be socially and personally restorative.
The staff decided that in order to be open to the widest range of diverse work, including visual art, we would need to begin printing in full color, which has allowed us to present innovative graphic poetry like Naoko Fujimoto’s “Protest Against,” as well as a recent graphic review in our Summer/Fall 2020 issue by Frances Cannon of Ocean Vuong’s memoir On Earth We’re Briefly Gorgeous, and in the Spring 2021 issue, we’re featuring Gary Kelley’s graphic narrative about the blues musician Robert Johnson.
Our commitment to publishing striking visual work is an ongoing process of discovering what is possible in our pages. For instance, “Protest Against” presented us a perfect opportunity to showcase a poem whose lyrical text was powerful in a traditional reading but whose aesthetic identity was more decidedly visual. We wanted it to serve as a declaration to our readers of how far into the visual we’re willing to go as editors. We are always open to visual art submissions in all forms, styles, media, and genres, including graphic poetry, graphic book review, and graphic narratives.
As to what the NAR is looking for in future submissions, well, I’ll say the same thing I would if we were talking about submissions of poetry, fiction, or nonfiction: we want something bold, original, strange and beautiful on its own terms. I’ve begun using the word “excellent” or “best” less and less, preferring words like “necessary” or even “involving.” As an editor and a reader, I want to encounter something that demands an answer from me, that brings me into the details of its world, invites me to take part in the moments of its life.
J.D. Schraffenberger is editor of the North American Review and an associate professor of English at the University of Northern Iowa. He’s the author of two books of poems, Saint Joe’s Passion (Etruscan Press) and The Waxen Poor (Twelve Winters Press), and his other work has appeared in Best Creative Nonfiction, Brevity, Hayden’s Ferry Review, Mid-American Review, Notre Dame Review, Poetry East, Prairie Schooner, and elsewhere. He lives in Cedar Falls, Iowa, with his wife, the novelist Adrianne Finlay, and two young daughters.