Jim Daniels, In Defense of a Familiar Story, First Communion
Cynthia Marie Hoffman, from Call Me When You Want to Talk About the Tombstones
Garret Keizer, Oldsmobile, Unloved
Jesse Lee Kercheval, Les Vampires, Paris Sleeps, La Cité des Enfants

Laura Cesarco Eglin (trans. Jesse Lee Kercheval & Catherine Jagoe) Clues, Coming to Terms
Richard King Perkins II, Sociopath Divine, Pirates of the Southern Desert
Jane Craven, Red Star 


John Thornton Williams, Lilly’s Voice 
John Oliver Hodges, Grout 
John Picard, At the Southern Baptist Convention 
Clay Reynolds, Balanced Marriage
Gonzalo Baeza (Trans. Joseph D. Haske), The Show 


Ben Reed, Trigger Warning: Reflections on Politeness, Dystopia, and Concealed Firearms in the College Classroom 
Johnnie Bernhard, The Myth of 1969 Vermilion Parish, Louisiana 
Clay Reynolds, Reaching the Summit: Ruminations on Retirement of a Baby Boomer: A Confession and a Valediction 
Dave Newman, Fuck You, Johnny Depp 


Phillip Parotti, Ross Calvin: Interpreter of the American Southwest, by Ron Hamm, Ancestors, by Gladys Swan
Jennifer Buentello, The Magic of Mariachi / La Magia del Mariachi, by Steven and Reefka Schneider
Dennis Mont’Ros, Aguacamino/Waterpath, by Rossy Evelin Lima
John Molina, Freak Show, by Valerie Bandura
George Williams, Don’t Think, by Richard Burgin
Liana Vrajitoru, The Gospel of the Twin, by Ron Cooper
Emad Jabini, Stray Dogs: Interviews with Working-Class Writers, edited by Daniel M. Mendoza


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The Texas Review is a biannual literary journal that was first published in 1976 by Paul Ruffin as The Sam Houston Literary Review. When The Texas Quarterly folded at the University of Texas in 1979, Ruffin changed the name to The Texas Review.

Today, with a staff of highly qualified editors and an editorial consultation board of established scholars from a number of American universities, The Texas Review enjoys an international reputation, publishing quality poetry, fiction, nonfiction, and reviews from contributors across the globe.

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