Current Issue
Vol. 6 No. 3 — July  2016

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Print $5.00
Essay
Unbought and Unbossed: Jane Eyre, Wide Sargasso Sea, and Amaryllis Collymore
  by  Karen Lord
Poems
Contemplation
   by Tonya Liburd

Canals of Mars
In Which Miss Emily Bethel Wakes a Hundred Years Later in Every Possible Future
New Moon: Naming, Rites
   by T.D. Walker

Grandmother Magma
The Handmaid’s Tale, by Margaret Atwood
   by Jewelle Gomez

Reviews
The People in the Castle, by Joan Aiken
   reviewed by Victoria Elisabeth Garcia

To Shape the Dark, edited by Athena Andreadis
   reviewed by Lauren Banka

The Devourers, by Indra Das
   reviewed by Anil Menon

The Geek Feminist Revolution, by Kameron Hurley
  reviewed by Karama Horne

Arabella of Mars: The Adventures of Arabella Ashby, by David D. Levine
  reviewed by Cynthia Ward

Fae Visions of the Mediterranean: An Anthology of Horrors and Wonders of the Sea, edited by Valeria Vitale and Djibril al-Ayad
  reviewed by Joanne Rixona

Featured Artist
From a Distance
   by Susan diRende

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

Mexico Night

Mexico Night, Susan diRende