Review: Critical Quarterly
A Review of CriticalQuarterly: Analytic Lenses for a Modern Culture
By Gregory Maher
From the arresting focal image of the cover, to the masterfully-chosen content within, the Critical Quarterly reveals itself to be a journal of the highest grade. Within the covers exists a systematic layout of literary criticism, memoir, poetry and other topics. The content highlights not just modern thought and aesthetics, but serves in the intertextual synthesis of the entire journal as an engaging vista on contemporary culture.
The journal reveals its functionality through its unification of professionalism and minimalism, these initially revealed in the structure and design of the publication. It is the visual aspect that is perhaps most important, behind academic or culture reputation, in getting the reader to first pick up the journal. This the Critical Quarterly accomplishes by the combined effects of simple coloration, focal image, and logo. The most immediate draw is the photograph: it is located centrally, and within a simple white background so as to let the reader's uncluttered perspective engage the image. In the October 2012 issue, a young woman graces the cover. She lies, arms folded, legs outstretched, with a gaze that simultaneously evokes mystery and indifference (this fed by the racing helmet propped behind). This image works in its lack of immediacy- the reader is temporarily flummoxed, and this functions to create interest for the journal's content. Next is the minimal visual aspect of color: the front and back are limited to three, all of which compose the logo. The front is a canvas of white, drawing attention to the focal image as well as the logo. This contrasts with the back cover, which in perfect inverse lists the contents of the issue in the white of the cover upon a backdrop of red. The logo, a simple but effective "CQ" is also reversed, the lettering switching from red to white and from white to black. These inverses serve again as a visual draw, first by the pop of contrast (red and white, white and black) and second by the intrigue of their design.
Furthermore, when the reader is sufficiently engaged in the visual aspect, the summation of authors and topics draws the reader within to the actual content of the journal's pages. This is done by a truly effective conciseness, directly stating in 5-7 words the content and author so that the reader can process them quickly and decide whether or not the content sounds interesting. The cover design and focal image should, along with this summation, offer the reader a relatively immediate sense of aesthetics and content. This effort all occurs before the reader has even opened the pages of the journal, conceivably drawing them in to read the diverse content within.
The content again reveals this functionality, marching forward with an underlying brio while reflecting the design and simplicity of format. The color, image, and smooth feel of the cover here fade away for black-and-white text and minimal pages. This is effective because the texts within speak for themselves - creating color and imagery via their words - while also helping cut printing costs. The table of contents and editorial intro are the only pages anterior to the desired content. They here reveal the multidisciplinary collocations of cultural studies and the scope of the contents. This is laid out as a standard of four poems, four pieces of criticism, a fiction piece, a memoir, two book reviews, and a film review. The editorial intro serves to describe abstracts of each piece while tying them together, so that the reader begins to glean an intertextual understanding of the journal as a whole. The reader derives a broad perspective on society, while noting a consistency and professionalism of the standard issue content. This, then, is reiterated in the standard font of the texts as well as the minimal headings of each piece.
It is the content, though, that speaks most decisively of the journal, and the October issue of 2012 revels in myriad views and cultural writings. Katherine Hunt's “I die each time I hear this sound: Getting dumped and the pop song” elaborates on the sociological aspect of pop music in postwar America. It reveals 1950s rock and rock as the progenitor of "dumping" and the related dating culture. The theme then plays out through later pop music where easily-memorizable lyrics and catchy tunes offered solace and a sense of identity for the unfortunate victims of "being dumped." In the end, it is the pop song that actually "creates our experience of breaking up," itself an inherently youthful aspect of dating.
What the journal brings us, though, is not the staid and decidedly academic perspective of traditional academic journals (though the Critical Quarterly is peer-reviewed). Rather, the reader experience the analyses as variegated lenses, where the author uses "you" to involve the reader and show her that the subjects of these texts are current and indeed, significant her life and interests. Hunt reveals the relevancy of her topic both in analyzing known songs (songs the reader likely would have heard) while showing the continued popularity of break-up songs as modern pop music plays progressively "slower, longer, [and] more often in a minor key." The reader moving to another type of text in the journal, the poem, sees if not the same personal relevance of the critical essay or the memoir, an alternative perspective.
The range of poetry in the journal reveals a refreshing boldness and validation of contemporary poetry. One contemporary aesthetic is revealed in the atypical shaping and perplexingly nonsensical “A swindle of windows” by Mac Wellman. This perspective challenges that of the reader, if but to make her question the consequence of such a voice. Elizabeth Willis speaks of life as "just another language of exchange" in “Bulfinch,” we humans the "alien/ adrift, elliptical" in “Autobiographia Literaria.” The poetry of this journal reflects in its work the role of the reader: he or she the individual mediating their role and understanding of society. Critical Quarterly, then, is the tool of comprehension for the individual. It gives the individual in their oblique sense of life a number of revelatory lenses to comprehend society, this "language of exchange." Critical Quarterly proves itself useful as a cultural lens, engaging by its relevancy, and a beautiful and orderly journal in its design and content. Ultimately, its minimal aspect and professionalism reveal its functionality for the reader and establish Critical Quarterly as significant to our culture and its comprehension.
Gregory Maher edits and critiques for Valparaiso University literary journals A Common Thread, The Lighter, and Valparaiso Fiction Review. He also edits all of the weeds from his vegetable garden. At least in his mind.
By Gregory Maher
From the arresting focal image of the cover, to the masterfully-chosen content within, the Critical Quarterly reveals itself to be a journal of the highest grade. Within the covers exists a systematic layout of literary criticism, memoir, poetry and other topics. The content highlights not just modern thought and aesthetics, but serves in the intertextual synthesis of the entire journal as an engaging vista on contemporary culture.
The journal reveals its functionality through its unification of professionalism and minimalism, these initially revealed in the structure and design of the publication. It is the visual aspect that is perhaps most important, behind academic or culture reputation, in getting the reader to first pick up the journal. This the Critical Quarterly accomplishes by the combined effects of simple coloration, focal image, and logo. The most immediate draw is the photograph: it is located centrally, and within a simple white background so as to let the reader's uncluttered perspective engage the image. In the October 2012 issue, a young woman graces the cover. She lies, arms folded, legs outstretched, with a gaze that simultaneously evokes mystery and indifference (this fed by the racing helmet propped behind). This image works in its lack of immediacy- the reader is temporarily flummoxed, and this functions to create interest for the journal's content. Next is the minimal visual aspect of color: the front and back are limited to three, all of which compose the logo. The front is a canvas of white, drawing attention to the focal image as well as the logo. This contrasts with the back cover, which in perfect inverse lists the contents of the issue in the white of the cover upon a backdrop of red. The logo, a simple but effective "CQ" is also reversed, the lettering switching from red to white and from white to black. These inverses serve again as a visual draw, first by the pop of contrast (red and white, white and black) and second by the intrigue of their design.
Furthermore, when the reader is sufficiently engaged in the visual aspect, the summation of authors and topics draws the reader within to the actual content of the journal's pages. This is done by a truly effective conciseness, directly stating in 5-7 words the content and author so that the reader can process them quickly and decide whether or not the content sounds interesting. The cover design and focal image should, along with this summation, offer the reader a relatively immediate sense of aesthetics and content. This effort all occurs before the reader has even opened the pages of the journal, conceivably drawing them in to read the diverse content within.
The content again reveals this functionality, marching forward with an underlying brio while reflecting the design and simplicity of format. The color, image, and smooth feel of the cover here fade away for black-and-white text and minimal pages. This is effective because the texts within speak for themselves - creating color and imagery via their words - while also helping cut printing costs. The table of contents and editorial intro are the only pages anterior to the desired content. They here reveal the multidisciplinary collocations of cultural studies and the scope of the contents. This is laid out as a standard of four poems, four pieces of criticism, a fiction piece, a memoir, two book reviews, and a film review. The editorial intro serves to describe abstracts of each piece while tying them together, so that the reader begins to glean an intertextual understanding of the journal as a whole. The reader derives a broad perspective on society, while noting a consistency and professionalism of the standard issue content. This, then, is reiterated in the standard font of the texts as well as the minimal headings of each piece.
It is the content, though, that speaks most decisively of the journal, and the October issue of 2012 revels in myriad views and cultural writings. Katherine Hunt's “I die each time I hear this sound: Getting dumped and the pop song” elaborates on the sociological aspect of pop music in postwar America. It reveals 1950s rock and rock as the progenitor of "dumping" and the related dating culture. The theme then plays out through later pop music where easily-memorizable lyrics and catchy tunes offered solace and a sense of identity for the unfortunate victims of "being dumped." In the end, it is the pop song that actually "creates our experience of breaking up," itself an inherently youthful aspect of dating.
What the journal brings us, though, is not the staid and decidedly academic perspective of traditional academic journals (though the Critical Quarterly is peer-reviewed). Rather, the reader experience the analyses as variegated lenses, where the author uses "you" to involve the reader and show her that the subjects of these texts are current and indeed, significant her life and interests. Hunt reveals the relevancy of her topic both in analyzing known songs (songs the reader likely would have heard) while showing the continued popularity of break-up songs as modern pop music plays progressively "slower, longer, [and] more often in a minor key." The reader moving to another type of text in the journal, the poem, sees if not the same personal relevance of the critical essay or the memoir, an alternative perspective.
The range of poetry in the journal reveals a refreshing boldness and validation of contemporary poetry. One contemporary aesthetic is revealed in the atypical shaping and perplexingly nonsensical “A swindle of windows” by Mac Wellman. This perspective challenges that of the reader, if but to make her question the consequence of such a voice. Elizabeth Willis speaks of life as "just another language of exchange" in “Bulfinch,” we humans the "alien/ adrift, elliptical" in “Autobiographia Literaria.” The poetry of this journal reflects in its work the role of the reader: he or she the individual mediating their role and understanding of society. Critical Quarterly, then, is the tool of comprehension for the individual. It gives the individual in their oblique sense of life a number of revelatory lenses to comprehend society, this "language of exchange." Critical Quarterly proves itself useful as a cultural lens, engaging by its relevancy, and a beautiful and orderly journal in its design and content. Ultimately, its minimal aspect and professionalism reveal its functionality for the reader and establish Critical Quarterly as significant to our culture and its comprehension.
Gregory Maher edits and critiques for Valparaiso University literary journals A Common Thread, The Lighter, and Valparaiso Fiction Review. He also edits all of the weeds from his vegetable garden. At least in his mind.
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