Current Issue
Vol. 8 No. 3 — 2018

PDF $3.00
Print $5.00
In Memoriam
Kate Wilhelm and Gardner Dozois
Poems
jungle red
   by Gwynne Garfinkle
The Shadow of the Peak
    by Alexandra Seidel
Flash Fiction
Roots
    by Sara Codai
r
The Canonization of Junipero Serra
    by Nancy Jane Moore
Grandmother Magma
Suzette Haden Elgin’s Native Tongue and Láadan
   reviewed by Amy Thomson
Dust Lanes
Stories in Capricious #9, edited by A.C. Buchanan
   by Karen Burnham

Book Reviews
The Mere Wife, by Maria Dahvana Headley
   reviewed by Kathleen Alcalá

Medusa Uploaded, by by Emily Devenport
   reviewed by Phoebe Salzman-Cohen

A Study in Honor, by Claire O'Dell
  reviewed by Cynthia Ward

The Invisible Valley, by Su Wei
   reviewed by Arley Sorg

Featured Artist
Jeanne Gomoll

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