by: Aaron Jackson

In the dime-a-dozen world of internet publishing it takes a special quality to survive, something that jumps out and grabs the average reader’s attention. The best measure of that elusive quality is the journal’s content. Love it or hate it, the H­_ngm_n Poetry Journal has that quality.

Founded in 2002, H_ngm_n is the brainchild of professor Nathan Pritts. Currently he acts as the journal’s sole editor, with Eric Appleby doing the web design. The attitude and feel of the publication is unlike anything I’ve reviewed before. It successfully goes against the grain of the main stream poetry found in many other journals while staying within shouting distance of the academic brand of literature so many readers are used to. It incorporates the overtones of rebellion without being abrasive. In the words of professor Pritts himself, “We are our own frontline.” This powerful aesthetic is exemplified in the interesting range of poetry offered in the current and past issues.

The current issue is only the publication’s third. This is by no means an admission of inexperience. One of the journal’s most noticeable aspects is its professionalism, both in the web design, and the editorial choices. The first issue, published back in 2002, was entirely in print. The second issue took nearly two years to publish, and was also a print version. The third and current issue moved the journal’s format online in order to speed the process, and better incorporate image and presentation. The online issue took only six months as opposed to the previous led time of two years, and thus the journal has become a bi-annual publication, with reading periods year round. Despite originally appearing in print format, the editors have done an excellent job archiving the previous issues as .PDF files, accessible from the site’s main page.

One of the journal’s strongest points is presentation. The site’s web design sparkles. The front page is attractive, with a modern art feel. The links are neatly arranged, and easily navigable once you decode the hangman (h_ngm_n) inspired font. Each link forwards you to a new page. Navigating the site’s actual poetic content is fairly simple. Each page has a “previous” and “next” tab, as well as a tab that takes you to the issue’s index. Readers have the option of browsing through the pieces one by one, or clicking a specific author’s name.

Pritts cites presentation as one reason for moving the publication to an online format. In that respect he’s achieved his goal by integrating literature and visuals, making H_ngm_n a journal of the arts. In addition to poetry, the journal includes a small sampling of visual work as well. The current issue includes an artist’s portfolio, which incorporates his pictures and a brief description. In addition, there is a comics section, something I have never seen in a literary journal before in my life. This further adds to the publication’s visual diversity.

While H_ngm_n’s extra features strengthen the magazine’s content, the poetry, prose, and literature are the main focus. Be forewarned: you will not find the typical blend of post-modern voice and literary academia. Forms are rare; the stanza is a stranger here. What you will find is offbeat poetry that is unique. H_ngm_n’s content closely resembles that of the beat movement. The tone is casual, to the point of conversational. The form is stream of consciousness. The editor prizes, above all else, striking images strung together by emotion, and the casually reflective phrase. Take J.L. Conrad’s “Groundworks” for example. “I have lost the language of music, thread of sound that cross hearing…there was music-and somehow I do not want to write of this: Jazz, the purple shirted guitar player with hair that fell sideways across his forehead.” The images are strong, each singular enough to impact the reader. They flow from one idea to the next with the ease of a conversation.

Another of the journal’s characteristics is the common tone shared by the work contained within. It is playfully surreal and humorous. Take Thom Ward’s poetry sequence “The Howwhathywherewhen Bone,” a sequence of poems that places a fictitious bone into different situations, for example. In the section titled, “The Ontological Argument of the Howwhatwhywherewhen Bone,” he writes, “attacks the assertion you have an idea that than which nothing greater can be conceived unless of course nothing is idea without this thatness or your mind to attack.” The cycle of poems cleverly riffs on philosophy, bubbling over the words themselves.

For all its offbeat, rebellious poetry, the journal offers some very solid and traditional literary criticism. The current issue features an interesting essay by Daniel Becker comparing Robert Lowell and Frank ‘O Hara. The essay’s themes range from the difference in their poetical style, to difference in their manner of public speaking. The literary criticism is the exact opposite of the poetical content, in terms of tone. It’s written in a clearly academic vein. The submission guidelines are pretty standard. As far as poetry is concerned, the editor asks for a sampling of your work in the form of 5-7 poems together a single document. All submissions must be sent as an attachment in MS Word format with your last name as the document title. H_ngm_n will not consider previously published work. In addition to your work, the editor also asks that you send a brief bio along with the email.

H_ngm_n Poetry Journal is an acquired taste. It’s not for everyone. If the poetical style of Richard Hugo or Robert Hass is your cup of tea, this publication is not for you. If you’re an Allen Ginsberg or Russel Edson Fan, or just looking for something off the beaten pat, this is your exit. Love it or hate it, H_ngm_n is a highly professional journal, with polished web design, and a singular voice.