Summer 2011 Number

You must not allow yourself to be fooled by the spooky cover of anything anymore anywhere

There are no words on the cover and although that puts you off you are more afeared of the suggestive image anything anymore anywhere presents; dark, empty, foreboding.

Whose camera took that? 

It must be the editor’s flat.

Why is the picture even there?


If you are thinking this, you are already working too hard with anything anymore anywhere.  Inside anything anymore anywhere there is no pressing house style or overbearing theme that one can discern, but this is because the greatest of care has been taken to represent the works the way that the creators would like.

That must be a great feeling as contributor, knowing that your piece isn’t going to be squashed into a font, format and colour that matches somebody else’s idea of what’s acceptable.

Of the thirteen contributors to summer 2011 anything anymore anywhere, no name stands out from the crowd, because names are not important here.  Included are some of Stephen Emmerson’s Letters to Berryman, which demonstrate not only the addictive powers of the master from McAlester, Oklahoma, but Emmerson’s ability to surrealise the event of this great poet.  And there’s Bronwyn Lacken’s The Land of Lesbians, a prose piece that would be as readable in any lifestyle magazine as it is in a literary publication such as this. Bronwyn Lacken’s piece is probably the one that will stay with you the longest, because it is so conversational and unfortunately true.  Prejudice is normal, mundane, quotidian, call it what you like; but this is a touching description of it.

My personal favourite in Summer 2011 anything anymore anywhere has to be the inner life of man by Steven Fowler and Anatol Knotek, a cut up conversation employing code, colour, poetry and software to break down the insides of human life, revealing a kind of absurd spew that responds better to distant observation than it does to actual reading. It’s neither prose nor poem and livens up the proceedings with a mild shock that has you staring at the page and almost losing focus.

This is not an auspicious publication by appearances and that is good thing. What is obvious is that although none of the contributors at face value have anything similar to offer in terms of style, content and presentation, they fit together as if they were family.  I suggest that anything anymore anywhere is about the creations maybe more than most magazines — not about the creators and not about the magazine itself.