“But the massive proliferation of literary journals online has, among other things, diluted the meaning of publication to the degree that we’ve clung to pre-digital hierarchies as a defense against chaos.
Despite our market-expressed preference for disruptive digital technologies, we still trust The New Yorker, Ploughshares, The Paris Review, Granta and handful of other top-tier publications to tell us who is writing the most important, must-read work today. (There are notable all-digital exceptions to this rule, of course. You’re reading this diatribe on the Brevity blog, after all.) The important difference now, though, is that we don’t want to pay for access to that information, which is one of the reasons why journals like Tin House, Glimmer Train, and The Normal School, to name only a few recent (and painful) examples, are closing up the print-issue shop.
The audience for literary journals is predominantly made up of writers. We can quibble over the reasons, but the cold, hard truth is that writers have decided that they don’t want to pay for access to literary journals.”
Read the entire article.
What does the picture of the best cat ever have to do with this post? Absolutely nothing. I miss him still.