Current Issue
Vol. 8 No. 2 — 2018

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Print $5.00
In Memoriam
Ursula K. Le Guin
Lew Gilchrist

Poem
Saint Roc Cemetery
  by Alicia Cole
Essay
Willow: A Forgotten Feminist Fantasy
  by  Morgen Tell

Flash Fiction
Somatic Market
  by Toby MacNutt

Dust Lanes
Short Fiction Reviews
   by Karen Burnham

Grandmother Magma
Trafalgar, by Angélica Gorodischer
     reviewed by Cristina Jurado
Book Reviews
Torn, by Rowenna Miller
   reviewed by Kate Schaefer

Liminal Spaces, by Beth Plutchak
  reviewed by Tonya Liburd

Her Own Hero: The Origins of the Women’s Self-Defense Movement, by Wendy L. Rouse
  reviewed by Nancy Jane Moore

Wonderblood, by Julia Whicker
   reviewed by Arley Sorg

Featured Artist
Erika Steiskal

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

Beauty and Beast