Purchase Copies of Volume 4, Issue 1

TMR is here

If you wish to donate to The Magnolia Review to assist with paying for contributor copies, please click Donate here.

If you wish to purchase physical copies of The Magnolia Review, Volume 4, Issue 1, please click here to Purchase One, Two, Three, or Four Copies. Or send your payment through your PayPal account to themagnoliareview@gmail.com. Select Send Money, Pay for Goods or Services. Send the amount for the number of issues you would like, as well as a mailing address.

Or mail your payment to:

The Magnolia Review
Suzanna Anderson
PO Box 1332
Reynoldsburg, OH 43068

(Including Shipping and Tax, $20.13 for one copy, $36.25 for two copies, $52.38 for three copies, and $68.50 for four copies. Please make checks payable to Suzanna Anderson.)

18% Funded! 7 Days to Go!

We are 18% Funded with 7 Days to Go! Thank you to all 31 backers. I appreciate your support.

I approved the final proof from the printer for Volume 4, Issue 1. They are getting ready to print, and I will have them before the end of November.

There is still time to donate, and please keep spreading the word. We only have 7 days to meet our funding goal.

Thank you!


Check out the Kickstarter project page here (https://www.kickstarter.com/projects/magnoliareview/the-magnolia-review-volume-4?ref=nav_search&result=project&term=the%20magnolia%20review).


18% Funded! 9 Days to Go!

Thank you to our 28 backers! We are 18% funded with 9 Days to Go! Thank you for every dollar of $1,123. Keep the pledges coming and keep spreading the word. Let’s make this dream happen.

Check out the Kickstarter project page here (https://www.kickstarter.com/projects/magnoliareview/the-magnolia-review-volume-4?ref=nav_search&result=project&term=the%20magnolia%20review).

Phoenix Rising 12 X 12 Clayboard jpeg

We made it to $1,000!

Thank you to our 28 backers! We are 18% funded with 15 Days to Go! We’ve reached a THOUSAND DOLLARS! Five thousand more and we’ll reach our $6,000 goal to print two volumes of The Magnolia Review, Volume 4, Issue 1, and Volume 4, Issue 2. Thank you for every dollar of $1,108. Keep the pledges coming and keep spreading the word. Let’s make this dream happen.

Check out the Kickstarter project page here (https://www.kickstarter.com/projects/magnoliareview/the-magnolia-review-volume-4?ref=nav_search&result=project&term=the%20magnolia%20review).

12% Funded! Printer Updates!

We’ve pledged $763 of the $6,000 goal with 23 backers! Thank you for your support. With 20 days to go, let’s make physical copies of The Magnolia Review Volume 4 a reality. (Check out the Kickstarter here)

I have proofs from the printer for Volume 4, Issue 1.

Proof from printer of Volume 4, Issue 1
Proof from printer of Volume 4, Issue 1


Proof of cover from printer of Volume 4, Issue 1
Proof of cover from printer of Volume 4, Issue 1

Postcards have arrived for Volume 4, Issue 1, featuring Sandy Coomer’s Phoenix Rising.

Postcards of Sandy Coomer's Phoenix Rising, from Volume 4, Issue 1
Postcards of Sandy Coomer’s Phoenix Rising, from Volume 4, Issue 1

Please spread the word and keep pledging!

Thank you!


Volume 5, Issue 1 Theme

The issue will be available January 2019.

The optional theme is Lost and Found. See the Submit tab for details on how to submit. We accept photography, art, comics, creative nonfiction, fiction, flash fiction, experimental work, and poetry.

For poetry, I would love to see more Blackout and Cross out poems. For examples, check out these books: Newspaper Blackout by Austin Kleon, A Humument: A Treated Victorian Novel by Tom Phillips, The ms of m y kin by Janet Holmes, Bukowski Erasure Poetry Anthology: A Collection of Poems Based on the Writings of Charles Bukowski by Melanie Villines, A Little White Shadow by Mary Ruefle, Mornings Like This: Found Poems by Annie Dillard, Nets by Jen Bervin, and Of Lamb by Matthea Harvey. Please submit the original and the typed version. And for fiction, creative nonfiction, and art, photography, and comics, please interpret this theme how you will, or see if you can do something new and unique with this found poetry method.

Volume 4, Issue 2 is Here!

The issue is available as a PDF: TMR Volume 4 Issue 2.

The optional theme is comics, be it drawn in sequential images or just plain funny.

Contributors: Gershon Ben-Avraham, Susan P. Blevins, Mela Blust, Charles W. Brice, Aria Callaham, Joan Colby, Holly Day, Darren C. Demaree, Adam Durso, Kelcey Parker Ervick, Sarah A. Etlinger, GTimothy Gordon, John Grey, Jack D. Harvey, Aloura Hattendorf, Henry Hitz, Diane Hoffman, A.J. Huffman, Phil Huffy, James Croal Jackson, Lonnie James, Gloria DeVidas Kirchheimer, Matthew J. Kreglow, Claire Martin, Megan Miazgowicz, Jennifer Davis Michael, Paul Mills, TJ Neathery, Simon Perchik, Steven B. Rosenfeld, David Anthony Sam, William L. Spencer, David Spicer, Chuck Thompson, Dennis Trujillo, Bess Vanrenen, Maryfrances Wagner, Michael Whelan, Theresa Williams, and Kelsey Zimmerman.

Reviews: Hold Me Gorilla Monsoon by Colette Arrand, Auri by Auri, Internet Yearnings by Gary Beck, Mnemosyne’s Hand: Poems by Charles W. Brice, Her Secret Husband by Abbey Faith, The Future by From Ashes to NewBurn Site In Bloom by Jamie HoughtonRookland by Jesse Minkert, Beach Dweller Manifesto by Leah MuellerGhost Matter by Jade RamseyHeavenly Whispers by Roger SipplPermanent Change of Station by Lisa Stice, and i’m fine: A Haiku Collection About Mental Illness by Jamie Winters.

Winner of The Magnolia Review Ink Award: Theresa Williams, for “From The Diary of Lea Knight,” chosen by Dom Fonce.

Trivia about Volume 4, Issue 2

5 artists submitted 5 comics, 2 creative nonfiction writers submitted 2 creative nonfiction pieces, 30 writers submitted 33 pieces of fiction, and 34 poets submitted 136 poems.

Volume 4, Issue 2 will be available soon.

Christopher Woods–Interview

Describe your creative space. Do you work at home, in public spaces, etc.?

Taking photographs takes me to many places for inspiration. Inspiration can be an instant thing as I come across images literally everywhere. Later, sometimes much later, I look at the photography bounty. Well, it’s not always bounty. As with writing, not everything is ready for prime time. At my desk, I often make changes in an image. Cropping is quite common. And given the vast array of editing tools available, I often make even radical changes to an original image. For example, a color image might actually be better if presented as BxW. Editing is an endless project, but at some point one must move on, to the next image, that is.

How long have you been making art? When did you start making art?

I began taking photographs nine years ago. I had always been a writer. I always enjoyed looking at photographs. Any visual art, really. But I always felt that, as a writer, I didn’t need an additional creative vice. Then my life took a turn when I was diagnosed with cancer and I began that journey. My wife, an equestrian photographer, gave me one of her old cameras. So, while in chemotherapy, I began taking pictures. That is how it began for me. We all have a reason for our creative impulses, and this was mine. I have never stopped taking pictures. They vary from pastoral to portraits to abstracts. “The Fire That Night,” which will appear in the Magnolia Review (Issue 7), is from the latter category. I also make picture poems, with text superimposed on an image. I like picture poems as they bring together my love for both images and words.

Who is your intended, or ideal, audience? Who do you make art for?

Hopefully for anyone who might appreciate it.

What other things do you do besides art? Do you dance or play golf, etc.?

I teach creative writing and have for many years. I find it inspiring to watch writers find their voices. I am also involved in pet therapy with my Great Pyrenees dog. We visit many places and people. This experience gives me valuable perspective on my own life.

What is your favorite part of the creative process?

Perhaps the initial concept, though this is not always the case. I know one thing for certain. When an idea comes, be sure to make a note of it or it might be gone. Many ideas come to us, and sometimes we must pick and choose. The criteria? What pleases us. What challenges us.

What is your advice to aspiring artists?

Press on. Don’t be afraid to fail. Be truthful to yourself. No matter the creative form of expression, these things matter most.

Check out Christopher’s art in Volume 4, Issue 1.

Roger Camp–Interview

I think most artists would agree that the world is your creative space. Most of what takes place creatively happens in an artist’s head and can occur anywhere at any time: walking in the street, day dreaming, attending a concert, having a conversation. The list is endless. If you are speaking about a work space, in the past that would have been a darkroom. Currently it is at home in my office which has a floor to ceiling window and looks out upon a garden.

In the past I used film, including black and white, color negative and color positive film. My longest experience was with Kodachrome 25 film (no longer made) and making color prints called Cibachromes (aka Ilfochromes). I now use a digital camera and make digital prints using Adobe Photoshop.

I don’t have a fixed routine except to work daily.

I’ve been making art for over fifty years. I date my first serious photograph from age ten when I climbed up into a fir tree in order to take Yosemite Falls from a different perspective. When I was sixteen I taught myself how to print in a make-shift darkroom I set up in my father’s woodshop. There is something magical about seeing an image come up in the developing tray that never gets old.

I have never consciously thought about an audience. I believe that would have a devastating effect on an artist’s work and it is what separates commercial artists from fine artists. You make art for yourself. I have hundreds if not thousands of photographs which have never been seen that mean as much to me as those I’ve shared, exhibited or published.

Inspiration comes from being alive but only if you are paying attention. It could be a love affair that ends badly. Or a terrific novel you are reading. An overheard remark in a cafe. A dramatic stage setting by a gifted set designer. If you are “blocked” you wait, just like a farmer allows her/his land to be fallow before sowing.

I spend a great deal of my time traveling, reading, gardening, writing poetry and as much time as I can in conversation with people who are more knowledgeable than myself in a variety of subjects.

Seeing the photograph in my head the millisecond before pressing the shutter.

Spend as much time as possible in your own company. Expose yourself as much as possible to nature without the trappings of media. Visit as many museums as possible and examine the art that has gone before you, not your contemporaries.

Check out Roger’s work in Volume 3, Issue 2.