A look into Mississippi Review- Jon Ignatowski

While bumbling around the periodical section in ODY, I came across a magazine titled Minimum Herioc, by Christopher Salerno. On closer inspection, the magazine is not published by Salerno, but produced by the Mississippi Review, which publishes twice a year by the Center for Writers at the University of Southern Mississippi, in Hattiesburg. Unlike its fellow journals on the shelf, this particular journal is solely focused on the work of one poet, Christopher Salerno. However, this journal appearance is modest compared to its counterparts. The cover is far from flashy, consisting of only a single image, bold type, and minimal coloration. Overall, comparatively, the production appeal of this publication is minimal. Its simplicity speaks for itself. In addition, the paper quality is standard. The cover is glossy, and the pages are of a matte, rough texture. Furthermore, the size of the magazine is relatively diminutive, which may suggest that the publication lacks interest. If you are motivated by visuals, this magazine will be a disappointment, for it is aimed to capture the beauty of language, not visual appeal (However, this may be so due to Mississippi Review’s budget). Due to its lackluster appearance, I did not expect it to be an expensive article, and neither did the editors, for it is priced at nine dollars an issue. Obviously, the cost of production is low, which resulted in a low net worth (economically speaking).

As stated before, this publication was dedicated to the work of Christopher Salerno, a young poet whose work I have never experienced before. I used the word “experience” purposely, for his work is something that cannot be strictly read. Unlike the work of other poets, the work of Salerno must be felt, for he composes with an alternative language. Words are not words in this case; they are merely elements of an image. Denotation is completely disregarded (which can frustrate the reader at times) and connotative interpretations are exercised. In other words, his work is mosaics of juxtaposed concrete images, similar to bricks being stacked erratically. The pattern appears to be incongruent at times, and expectations are beaten to a pulp, forcing the reader to look at the piece again, and again, with no avail. Meanings are illusive, for they metamorphose through every reading. One piece in the collection , titles “East,” did so due to the vibrancy of its imagery: “A hurricane digs for its salt white dress, / the wilds of which are filled with want. Using its pistons / forms a crude 9. Our place / is like empty drams for it”. In this particular piece, I easily grasped the images. However, one piece that I struggled with, “Recount,” flooded me with images, and I was drowning: “A compost heap’s genius is you have seen mediation / if you have looked upon rinds, / the clippings of your own eyes, / the warp of paisley”. The seemingly incongruent relationship between verbs and nouns, and their prolificacy, was overwhelming.

Overall, this journal is dedicated to showcase the work of poets who transcend expectations of poetry, and convince the reader that words are not merely statements, but the elements of pure images. In no way is tradition present – a new path is formed every page. It is not a new genre, it is a new approach to poetic thought.