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105 AD
• Cai Lun invents paper.
1439• Johannes Gensfleisch zur Laden zum
Gutenberg invents the Gutenberg Press, using the first known instance of moveable type which would industrialize books, making them cheaper and more accessable to the public.
1803• The earliest American literary
magazine, the short-lived Philadelphia Literary Magazine, was founded. It ran for less than five years.
1805
• The first widely acknowledged literary magazine, the Edinburgh Review was founded in the United Kingdom.
•The North American Review was founded in Boston by William Tudor. The NAR is the first American literary journal as well as the longest running quarterly journal in the nation.
1805
1819
• The Christian Spectator was founded at Yale University in America. It is considered the oldest running review conducted out of an academic setting. It is better known now as The Yale Review.
1823
• The Westminster Review was founded in the United Kingdom, and became the Edinburgh Review’s most celebrated rival.
•The Scientific American was founded by Rufus M. Porter and is currently the longest running monthly magazine in America. Although a science magazine, it has been praised since its inception as readable to the public and is an icon for its commissioned graphics (which are now available to download for public use from Project Guttenberg and are displayed throughout this presentation).
1845
1846• The first New Orleans based magazine was
founded by James Dunwoody Brownson DeBow, who named it the Commercial Review of the South and West before rebranding it as De Bow’s Review. It was known for its secessionist viewpoint.
1912
• Poetry: A Magazine of Verse was founded by Harriet Monroe in Chicago. It is known for being the first magazine having published T.S. Elliot with his initial success, The Love Song of J. Alfred Prufrock, as well as having launched the career of Ezra Pound.
1935
• The Southern Review was founded by Charles W. Pipkin, Robert Penn Warren, Albert Erskine, and Cleanth Brooks as a literary review generated by the Louisiana State University.
1968• The New Orleans Review
was founded by Miller Williams, who acted as editor, and John William Corrington, who acted as editor-at-large.
1968 continued
• To the left is the first cover featured of NOR.
• The cover was two-toned, with a black and white image, a mustard colored side panel, and featured the repeated insignia of NOR.
1968 continued
• Here is the table of contents format used for the first issue. This format would be used until 1994.
1968 continued• This
sample page from the first issue illustrates NOR’s initial use of two columns on each page.
1968 continued
• This is the text written on the inside back cover of Volume 1.1
• As a publication of Loyola University, the first issue used this image as an advertisement. Many issues later would use the same ad.
1968 continued
• This is the back cover of the first issue. The back cover was used for ad space, such as this ad for Humble Energy Company.
1969
• The cover from the second publication, Volume 1.2, completed in the winter of 1969. The cover design uses the same layout of the first issue, but uses its sole presence of color in the bold red title. The image is also much more abstract than the initial cover’s, reminiscent of New Orleans ironwork.
1969 continuedImage layout from Volume 1.2, pages 134 and 135
1970• Joseph A. Teltow
takes over the role of editor.
• The cover for Volume 2.1 is once again completely different than the previous two. The blank white look of the cover creates a clean effect and the abstract white and red shapes hovering around the circular picture at the cover’s center create a quirky effect.
1972
• Forrest L. Ingram, author of Representative Short Story Cycles of the Twentieth Century: Studies in a Literary Genre, takes over the role of editor for NOR.
• The journal stays relatively the same in terms of form and layout.
1974
• John F. Christman becomes editor for a brief time.
• Layout and design stay fairly the same.
1974 continued
• Professor Marcus Smith at Loyola University takes over the role of editor.
1978
• Dawson Gaillard, author of Dorothy L. Sayers, becomes editor of NOR.
1980
• For the first time in NOR’s history, three editors joined forces to bring the small literary journal into a more critically acclaimed work. These editors included Bruce Henrickson, a novelist and a theorist, John Biguenet, a novelist and a poet, and John Mosier, a writer and a historian.
1980 continued
• In these issues, author’s names were at the top, titles of work were underneath in all capitals, and pieces began with the first letter enlarged.
1992
• Volume 19.3&4 is the last issue produced under Mosier and Biguenet’s editorship. After this issue, all three of the previous editors step down, leaving NOR without a cohesive staff. The journal goes on hiatus for almost two years.
1994 continued• Ralph Adamo, a poet and previous adviser for the University of
New Orleans’ campus newspaper—Driftwood,—becomes the new editor, reviving NOR from its longest hiatus. His first issue redesigns the journal in intriguing ways.
• Adamo, a poet, releases his initial issue as editor with an edition completely compiled of poetry and interviews. Former presidenet, Jimmy Carter, was the featured poet of the issue, which made the journal more recognizable nationally. An interview with Carter was also conducted and recorded in this issue.
1994 continued
• This issue, released in the Spring/Summer of 1994, is the first issue of NOR which changes the journal’s size. From the standard 8x11 size, Adamo publishes the first 6x9 size. Under Adamo’s editorship, typographers such as Bill Lavender and Lisa A. Rose contribute to the journal.
1994 continued
• Authors names are printed at the top of the page, and the titles are printed in all capitals, underneath the author’s name.
Here is a picture of Volume 17.2—from the summer of 1990, under Biguenet and Mosier’s editorship—compared to two journals (the pink one under Adamo’s editorship and the white one from under later editor Christopher Chamber’s supervision).
1994 continued• This note by Adamo explains changes he
made to the format of NOR and the reasoning behind those changes:
• “With this issue, NOR returns from a hiatus of nearly a year and a half. We have altered the format in which the magazine has been published since its debut in 1968. Instead of an 8x11 book, we are publishing one that is 6x9. Our purpose in doing so it to accommodate a changing vision of NOR, a vision that we trust will both honor and build on the powerful legacy of the magazine’s first twenty-five years.”
1999•Adamo’s last edition as editor, entitled “The Stupid Love Salvation Dirty Dreams Birthmarks Echolocation Second Story Bicameralization Angels in White Dresses Mouth’d Sonnet double issue.”•The front cover is “untitled 98 (Picabia)” by Jonathan Santlofer. The typographer is Lisa A. Rose.
1999 continued
• In the Fall, Sophia Stone takes over as editor for Volume 25.3. Her issues continue to use Bill Lavender, as well as introduce the associate editor, Christopher Chambers. In later issues under Sophia Stone’s editorship, Chambers replaces Lavender as the typographer.
Stone’s first issue, Volume 25. 3, keeps Adamo’s basic front layout. Arguablly present in this cover is a more “feminine” quality than in previous issues.
2000
• Once again, the journal undergoes major stylistic revisions under the new editor’s direction—Christopher Chambers. Having worked on previous issues as the associate editor and typographer, Chambers revitalizes the journal with a more designed perspective.
2000 continued•His first issue, Volume 26.3&4, was published in the Fall/Winter of 2000. The cover image is a picture of “Only the Fool” by James Tisdale. The frontispiece is a pinhole photograph called “Docked” by Walter Crump.•This issue is the first to depict the new logo for NOR, placed at the top of the journal.•Christopher Chambers is listed as both the editor and typographer for this issue.
2000 continued
“Docked” by Walter Crump
2000 continued
• The cover bindings on issues under Chamber’s editorship are black and white blocks for the first few years.
2001
• Volume 27 marks the official change from a quarterly (or attempted quarterly) journal into a biannual journal with Volume 27 split into spring/summer 27.1 and fall/winter 27.2.
2004
• The first issue under Chamber’s editorship with an all black binding.
• The next five issues feature this format.
2005
• Hurricane Katrina forces Loyola students and professors to evacuate the city. New Orleans undergoes massive amounts of flooding and weather damage. The NOR’s winter issue is delayed until 2006.
2006• Amazingly, the NOR returns for an
issue commemorating the city of New Orleans post-Katrina. Volume 31.2 marks the first issue published after Hurricane Katrina devastated the city. The front cover is pitch black, with a single curving line defined by a high-gloss finish which is fashioned after the outline of the Mississippi River.
2006 continued
Volume 31.2
2007
• Volume 33.2, in winter 2007, marked the first cover for the journal to have an all-encompassing image. The image is Float, 2007 by Jack Niven.
2007 continued
• Volume 34.1 presents a cover encompassed by Tony Nozero’s Ascending Bird.
2008
• Cover of Volume 34.2 is Titled Mule by Jack Niven.
2008 continued
• Cover art for Volume 35.1 is Me, by Myself by Jose Maria Cundin.
2008 continued
• Jose Maria Cundin also did the frontispiece for this issue, named Angelic Head.
2011
• 37.1 is the latest completed issue of NOR, featuring a flurry of colors for the front cover. This is Aaron Collier’s Should We Leave a Record of Our Progress.
2011 continued
• Playing off of Collier’s work is the back cover, which features contributors’ names in a rainbow of color.
2012• 37.2 will be the next issue, completed by early 2012. This issue
will mark the beginning of a new design and layout format for the journal. Chambers worked with designers Nancy Bernardo and Daniela Marx to redesign the journal. Although not completed, I viewed several layouts for the new issue including a cover which rehashes the current logo on the website (also designed by Bernardo and Marx and featured on the left) in a way Bernardo describes as “an explosion of New Orleans.” The inside will feature a rich black type with work titles composed of four to five layers of the different styles of the font History (by Marx). The authors names will be displayed in Hefler, a font modeled after Garamond which was used as one of the original font face of the journal (by Bernardo.) Rich black and white images will be used in an abstract way to decorate the pages unlike in any NOR issue before. The redesign is supposedly inspired by Ninth Letter Arts and Literary Journal. The images used will be mash ups of abstract, Victorian-era inspired pictures, such as umbrella and gentlemen’s hats sketches. Upside down fleur-de-lis were also a major symbol of this new format, used in several layouts.
• Bookshelf of Bobet room 334, Loyola University.• Project Gutenberg for Scientific American images.• Poets and Writers (P&W) online literary magazine database for all information
on literary works aside from NOR, as well as minimal Wikipedia consultation.