Because design is enormously important to how we approach poetry, TAB isn’t like other literary journals. We hope you’ll take some time to consider the reading experience we create. On this page, we share more about the design of each volume.
Vol. 1 (2013)
TAB: The Journal of Poetry & Poetics launched a new journal of original poems, poetry criticism and nonfiction, interviews, reviews, and other writings that reflect and shape contemporary poetry. TAB‘s first issue appears as a black & white & red (read all over) tabloid, drawing from conventions of newspapers.
Online issues follow, using the Open Journal Systems platform designed for scholarly journals. The issues are created as downloadable PDF files. Viewable online, the dimensions and orientation are designed for the screen. The pages are oriented horizontally, and though they can be printed, their dimensions don’t match standard paper sizes. The design of online issues consciously uses white space, as the horizontal page welcomes the writer’s deeply embedded sense of the vertical page on which we usually compose and submit our work.
Each format allows for very different approaches to content and design, and TAB works with each format on its own terms.
Vol. 2 (2014)
From the beginning of the 2014 January print issue, each page employs atmospheric and, at times, abstract photography of the sky taken at different times of the day. In addition, text has been placed within various objects specifically chosen to interact with light. These objects include water, glass, blinds, wrinkled paper, and windows. The sequence of time is reflected in the progression of the journal, beginning with morning light and moving to night.
The print issue’s spine is unorthodox, creating unexpected vertical and horizontal movement in the reading experience. The physicality of the object forces the reader to acknowledge its presence. The life of this interactivity becomes an individual journey of pages unwilling to be turned passively. The space in this issue challenges readers to take in more than merely text and image but also a full-body experience of holding and of disorientation.
Each year, online issues pick up on design elements in the print issue.
Vol. 3 (2015)
The 2015 January issue explores mapping as place, location, and orientation. The print issue’s design this year encourages reading mindfulness with the intention of getting lost, disoriented, having to navigate a way through as someone might navigate a journey; it encourages discovery. The issue emphasizes the iconic physical ritual of unfolding and refolding maps and also the visual weight of traditional street maps in order to communicate credibility and an authoritative source of being an actual place. But this place—TAB—is also no place.
In designing the print issue, we examined work by Jacques Bertin, a French cartographer and visual semiotician. In his book The Semiology of Graphics, he synthesized design principles with rules applied to writing and topography. His work was dedicated to the study of visual variables (shape, orientation, color, texture, volume, and scale) of maps and diagrams to code visual combinations that would create successful map-reading objectives. We challenge these guidelines by employing visual variables associated with illegibility, including graphic density and angular illegibility. The front side of the map, which contains the poems, tightly compresses layers between text and texture, eliminating hierarchy and contrast. There is no right side up so disorientation is part of the reading experience. This is further emphasized by an orientation conflict in which each poem is placed on its own angled baseline.
This backside of the map provides information about the authors. In order to discover the author of a poem, the reader must flip between the front and back of the map to determine its placement on the latitude and longitude grid. This side of the map uses photography of places so specific that the reader is excluded from knowing the place. With the common use of GPS and everyday devices that lead the way rather than show the way, this print issue empowers the reader to lead their own way.
Beginning in 2015, TAB publishes the print issue in January and online issues in March, May, July, September, and November. For the first time, TAB devotes an entire issue to poems by children; the May issue each year now includes winners and selected runners-up in the California Coastal Commission’s K-12 poetry contest. As always, the online issues play with the design established in the print issue.
Vol. 4 (2016)
The 2016 print issue explores the representation of energy. Energy is best conveyed by experience, in context, generating an emotional effect. Yet, we learn energy in two-dimensional, static visual representations like weather system reports, combinations of molecules, and diagrams like the ones used to explain the energy forces of how the Twin Towers collapsed during 9/11.
This issue contains four energy panels—movement, connection, destruction, sustaining—dedicated to the exploration and relationship among diagrammatic representations, the expression of energy, and poetry. Diagrams interact with text and visual compositions that occupy the space and create new visual representations of energy. The contrast and radiance of the back panels is a complete manipulation of diagrammatic language, returning movement, and chaos that leaves an emotional imprint to the experience of the viewer. Perforated panels empower the reader to redirect energies, recreate sequence, and construct narrative.
The print issues of Volumes 3 and 4 use the same size sheet of paper. The map issue of 2015 folded into a handy rectangle, whereas the energy issue of 2016 was cut into strips that folded accordion-style into squares. The same material starting point led to two very different end results. While the online issues look more consistent year to year, their design changes each year to draw from the print design.
Vol. 5 (2017)
Published in January, the 2017 print issue examines the effects of noise and text delivered to the reader as visual volumes on multifaceted layers. Textures and patterns act as a sounding board, adding a variety of tones intended to create an atmospheric pairing with the poems themselves.
The 2017 print issue was composed of three differently sized, staple-bound parts, including a special feature of work by mentors and mentees in the Writer to Writer program hosted by the Association of Writers and Writing Programs. This issue was distributed widely free of charge at the AWP Conference, including at the 50th anniversary gala dinner.
Vol. 6 (2018)
The 2018 print issue amplifies the qualities in aesthetics and materials of ephemera as the main framework to poetry. Damien Gautier contributes his photography of urban typography showcasing various words, letters, and signs that TAB rearranged and layered, calling attention to the arbitrary size and two dimensions of both the physical photograph and the postcard.
In today’s world of excessive materials in a disposable culture, TAB revisits the function and permanence in a collection of postcards. The issue arrives in a vacuum-sealed plastic sleeve, so that the issue’s cover(ing) must be destroyed to read its contents. We examine the origin and value of a postcard as a record of personal travel, propaganda, and advertisement and how some collections end up being documents of preservation.
Vol. 7 (2019)
The 2019 print issue of TAB explores the concept of containment, both of a poem as container that delivers words to the reader’s eyes and ears and of paper and typography as containers. The visual language in this issue experiments with tags, labels, tracking methods, scanning, etc., upon which we rely for accurate delivery and that reveal the final experience contained within and across pages. The materials used in this issue play with transparency and hiding what is contained.
The January 2019 issue features original poetry by Ivy Alvarez, Ann Fisher-Wirth, Sonja Johanson, Vandana Khanna, Erika Meitner, Anya Silver, Maggie Smith, and Lesley Wheeler as well as a translation by Ilya Kaminsky and Katie Farris of a poem by Anna Akhmatova.