Current Issue
Vol. 7 No. 3 —   2017

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Print $5.00
Essay
Until the Next Time
  by   L. Timmel Duchamp

Poems
The Repository
   by Rose Lemberg

Dis Genite et Geniture Deos
Cosmopolitan Bias
   by Sonya Taaffe

Grandmother Magma
Mildred Clingerman: Imperfect Subversive
in a Peter Pan Collar
   by Nancy Kress
Book Reviews
Bodies of Summer, by Martin Felipe Castagnet, translated by Frances Riddle
   reviewed by Maria Velazquez

The River Bank, by Kij Johnson
  reviewed by Lynette James

Re-visioning Medusa: From Monster to
Divine Wisdom
, edited by Glenys Livingstone, Trista Hendren, and Pat Daly
  reviewed by Phoebe Salzman-Cohen

Time’s Oldest Daughter, by Susan W. Lyons
   reviewed by LaShawn M. Wanak

Mormama, by Kit Reed
   reviewed by Arley Sorg

Amatka by Karin Tidbeck
   reviewed by Tansy Rayner Robert
s

Featured Artist
Karen McElroy

The Cascadia Subduction Zone

A decade into the 21st century, the world of books, the world of the arts, the world of criticism have all been caught up in violent, unpredictable change. A large part of this change has been unleashed by a continual stream of technological innovations that impact our daily lives and even our personal as well as professional relationships. Technology is changing how we read and what we read, is challenging the very forms and genres in which we write, and is making criticism and reflection more valuable and necessary than it's ever been.

Despite the many and continual changes reshaping the world of books and the arts, one factor remains constant: work by women writers is always assigned a marginal status in critical venues (except, of course, in venues that focus exclusively on work by women writers).

The CSZ aims to treat work by women as vital and central rather than marginal. What we see, what we talk about, and how we talk about it matters. Seeing, recognizing, and understanding is what makes the world we live in. And the world we live in is, itself, a sort of subduction zone writ large.

“If your takeaway…is that The Cascadia Subduction Zone sounds really interesting, you’re not wrong—it’s a wonderful journal filled with thoughtful and insightful criticism.”
    — Niall Harrison, The Guardian, May 12, 2016

Born a Girl