Today, the Whiting Foundation announced the winners of its 2022 Literary Magazine Prizes, which honor “the most innovative and essential publications at the forefront of American literary culture.” The five winners were chosen—from an initial pool of more than eighty applicants —based on their “excellence in publishing, advocacy for writers, and a unique contribution to the strength of the overall literary community.”
“This prize was designed to create cohorts capable of tackling shared challenges with mettle and imagination, and it’s thrilling to picture the conversations that these terrifically varied magazines will have,” said Courtney Hodell, director of literary programs, in a statement. “We look forward to learning with and from them.”
The 2022 print winners are:
ZYZZYVA (San Francisco, CA), a stalwart West Coast publication with national reach, an exquisitely curated reading experience, and top-notch design.
Medium-Budget Print Prize Winner ($150,000–$500,000 budget) Total prize: $60,000
Bennington Review (Bennington, VT), a relaunch of an eminent university publication—a visually stunning journal with an imaginative and sophisticated vision that offers hands-on experience to the next generation of editors.
Small-Budget Print Prize Winner (under $150,000 budget) Total prize: $30,000
American Chordata (Brooklyn, NY), a budding independent magazine full of thought-provoking interplay between text and visual art—a careful assemblage of young writers and artists alongside recognized talents.
Print Development Grantee (under $50,000 budget) Total prize: $15,000
And the 2022 digital winners are:
Apogee Journal (New York, NY), an incubator for multicultural writers with a finger on the pulse of the literary landscape and an established reputation for publishing stellar up-and-comers.
Digital Prize Winner (under $500,000 budget) Total prize: $19,500
Electric Literature (Brooklyn, NY), a buzzing concourse for news and ideas publishing compelling essays, short stories with insightful context, and incisive critical coverage of the literary world.
Digital Prize Winner (under $500,000 budget) Total prize: $19,500
Our new issue is now online, featuring 29 responses to the overturning of Roe v. Wade, Barbara Newman on medieval sanctuary, @moonjets on Shelley, Mimi Jiang on the end of Shanghai’s lockdown and @mmschwartz on the Bataclan verdict. https://lrb.co.uk
@TheTLS – July 1, 2022. Featuring Kenneth Rogoff on inflation; @KuperSimon on the Tour de France; @natsegnit on the ultrawealthy; Terry Eagleton on Geoff Dyer; @amyhawk_ on Hong Kong; @scheffer_pablo on climate change in medieval literature – and more.
“Am I laughably naïve to think we might all somehow grow up and continue this relatively youngish two-hundred-and-forty-six-year-old experiment? I’m starting to think I am,” the artist Chris Ware said. His cover for the July 4, 2022, issue of the magazine captures the divides underlying this year’s Independence Day celebrations. As suburban real-estate agents prepare to carpet the nation’s lawns with miniature flags, millions of Americans are riveted to the proceedings of the House select committee investigating the January 6th attack on the Capitol. Down the street, the Supreme Court struck down, on June 23rd, a New York state law restricting the ability to carry a gun in public, even as the Senate voted to pass gun-control legislation in the aftermath of the Uvalde school shooting.
Nearly 50 years ago, the Supreme Court legalized abortion. The decision has since divided the country. Now that the court has overturned Roe v. Wade, here are 10 books that outline the history and the terms of the debate.
Thomas Hardy’s depictions of a fictional Wessex and his own dear Dorset are more accurate than they may at first appear, says Susan Owens.
We feel a frisson when a real place plays a key part in a novel. The Cobb at Lyme Regis will always be associated with silly Louisa Musgrove and her tumble in Jane Austen’s Persuasion and Knole in Kent with Virginia Woolf’s hero-heroine Orlando. Thomas Hardy, however, took the use of known locations to another level. He may have invented the characters in his novels, but he made them walk along actual roads, look across valleys at real views and live in recognisable villages and towns — sometimes, even in identifiable buildings.
For all its operatic symbolism, Tess of the d’Urbervilles (1891) is a novel in which practical footwear matters. Among its heart-breaking moments is when Tess’s walking boots are discovered stuffed in a hedge where she had hidden them, mistaken for a tramp’s pair and taken away, forcing her to walk many miles back home along a rough road in pretty, but thin-soled, patent-leather ones.
A map depicting Hardy’s Wessex by Emery Walker, drawn for Tess of the d’Urbervilles. Credit: BBC / Album
Those who live in the country come to know land by ear as much as by eye. Hardy’s characters are expert in this — even in the dark and when drunk, as in Desperate Remedies (1871): ‘Sometimes a soaking hiss proclaimed that they were passing by a pasture, then a patter would show that the rain fell on some large-leafed root crop, then a paddling plash announced the naked arable.’
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