Volume 4, Issue 1

Phoenix Rising 12 X 12 Clayboard jpeg

Volume 4 Issue 1 is available here as a PDF: The Magnolia Review Volume 4 Issue 1.

Contributors: Charles Joseph Albert, Meredith Bailey, Susan P. Blevins, Doug Bolling, Adam Levon Brown, Sally Bunch, Antonia Clark, Mara Cohen, Ann Colcord, Tony Concannon, Sandy Coomer, Barbara Daniels, Maureen Daniels, Chris Dungey, Robert Ford, Cynthia Gallaher, D.G. Geis, Jessica Gigot, Ben Groner III, Mary Hanrahan, K.B. Holzman, Jamie Houghton, Mark Hudson, Steven Jakobi, Brian K. Kerley, Lauren Klocinski, Laurie Kolp, Paul Lamb, Sean J. Mahoney, Bridget Malley, Todd Mercer, Anthony J. Mohr, Wilda Morris, Leah Mueller, Don Noel, Toti O’Brien, Richard King Perkins II, Scarlett Peterson, Greg Rappleye, Ruben Rodriguez, John Rodzvilla, Valerie Ruberto, David Anthony Sam, Hilary Sideris, Roger Sippl, Steve Slavin, Spencer Smith, and Christopher Woods

Reviews: Magic for Unlucky Girls by A.A. Balaskovits, Twenty-One by D. Victoria BonAnno, Wet Radio and other poems by Goirick Brahmachari, Two Towns Over by Darren C. Demaree, The Gentle Art of Swedish Death Cleaning by Margareta Magnusson, and Chant of a Million Women by Shirani Rajapakse.

Winner of The Magnolia Review Ink Award: to be announced


Greg Rappleye

Greg Rappleye’s poetry has appeared in a variety of literary journals and magazines, including Poetry, The Southern Review, Shenandoah, and elsewhere. His second book of poems, A Path Between Houses (University of Wisconsin Press, 2000) won the Brittingham Prize. His third book, Figured Dark (University of Arkansas Press, 2007), was first runner-up for the Dorset Prize and was published in the Miller Williams Poetry Series.

Cotton House Fire, Volume 4, Issue 1

Ruben Rodriguez

Ruben Rodriguez is a master of all things thrift. He holds an MFA in fiction from California State University San Bernardino where he was the fiction editor of Ghost Town. He is the author of a chapbook of experimental prose, We Do What We Want (Orange Monkey Publishing, 2015). Today, he is the poetry editor of Blue Mesa Review. His poetry has been featured in Passages North, The Brooklyn Review, Superstition Review, Forklift Ohio, Potomac Review, and elsewhere. He currently resides in Albuquerque, where he teaches and studies at the University of New Mexico.

When Broken, Volume 4, Issue 1

Bill Trippe–Interview

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

I have a small office next to my attic. It’s a very old house and a very modest office, but I have a table to write and shelves for my books.

What kind of materials do you use? Do you write by hand or type? What is your favorite writing utensil?

I do almost everything on the computer. I maintain files of story ideas, then build from that. In writing workshops (including some I facilitate) I write in a few favorite notebooks, always in pen, as I hate the feel of pencil for some reason.

What is your routine for writing?

I work full-time, so I write in the early morning. I try to get an hour in each weekday then perhaps two hours on one of the weekend days. I have to use some of that time for submissions and correspondence, so it’s not all productive writing time.

How long have you been writing? When did you start writing?

I have been writing since college, which I started 40 years ago this month. I did a BA in English and an MA in Writing, but then raised a family. While I did quite a bit of professional writing over those years, including co-writing two technical books, I only returned to creative writing in earnest in November of 2014. I finished a novel and have written a number of short stories in that time.

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

I imagine someone who, like me, loves short fiction especially. I read widely, but nothing is more satisfying to read than a well-crafted short story. I hope that my stories evoke that kind of response in my reader.

What inspires you to write? If you are blocked, what do you do?

I look for germs of stories all of the time, including in my reading, anecdotes I hear about, things in the news. The story here, “First Day,” was inspired in part by something that happened to a teacher I know but then I took the action of the story much further. If I am blocked, I read old newspapers and look for some interesting story or detail. The opportunities are endless.

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

I sing choral music and have begun to sing with an a capella group. It’s fun but it’s also a new intellectual challenge, honestly. It forces me to think in a way I rarely have.

What is your favorite part of the creative process?

I like thinking through the arc of the story—who the characters are and what is propelling the action of the story. When I find something that I think is real and compelling about them, I feel that I can move the story along. It’s very satisfying though sometimes it involves a lot of sitting and staring at the wall.

What is your advice to aspiring writers?

I think we all have rich experiences and ideas to tap into. When I teach writing, I encourage students to mine their experiences and to find the stories in them. As to the publishing process, prepare for things to take a long time and to get many rejections before you find places that will publish your work. If it helps to have a community of writers, seek one out. There are many venues.


Check out Bill’s work in the issue Volume 3, Issue 2 (Pushcart Nominee).



Christopher Woods

Christopher Woods is a writer, teacher, and photographer, who lives in Chappell Hill, Texas. He has published a novel, The Dream Patch, a prose collection, Under a Riverbed Sky, and a book of stage monologues for actors, Heart Speak. His work has appeared in The Southern Review, New England Review, New Orleans Review, Columbia, and Glimmer Train, among others. His photographs can be seen in his gallery: http://christopherwoods.zenfolio.com/.

The Fire That Night, Volume 4, Issue 1