The Millions: Coverage Depends on the Editor

The Millions (home page screenshot)

The Millions tends to stick to standard humanities fare: essays, book reviews social commentary and the like. It's accidental, perhaps, but some editors have a good eye for science/poetry writing, such as Emily St. John Mandel's lightly read post on science and literature, posted in 2010. 

Boston Review Writer Responds to Edmundson Essay in Harpers

It is not a particularly favorable response to Edmundson's essay in Harpers (pay wall) on the state of poetry in the U.S., but in July 2013, Boston Review published Stephen Burt's "In Every Generation: A Response to Mark Edmundson." It is a thoughtful essay worth reading.

Boston Review has regular submit-for-pay poetry contests. There is no particular emphasis on science and technology, but they are not explicitly excluded.

Jeff Davis on Charles Olson

MadHatters’ Review is an annual online multimedia magazine.

Issue 12 of MadHatters Review featured an essay by Jeff Davis on Charles Olson. Olson was an American poet infrequently discused today. Wikipedia's entry proposes that "in Projective Verse (1950), Olson called for a poetic meter based on the poet's breathing and an open construction based on sound and the linking of perceptions rather than syntax and logic."

According to Davis, Olson "thought big," as in Olson's Primordia, with a necessary "shift in human subjectivity itself."  In support of this view, he quotes Primordia:

(1) Man as object is equitable to all other nature, is neutron, is on the one hand thus no more than a tree or pitchblende but is, therefore returned to an abiding place, the primordial, where he can rest again as he did once with less knowledge to confirm his humilitas.
       It is as force that the eye of nature sees man. Seen so, the animal and the bones of him do not disturb the remainder of organic and inorganic creation. As force man has his place, and wonder. It is enough, more than he knows. For instead of his own alone he is in touch with all life, and image and fable come back.
       They come back because the elements are not so dissimilar: season, cello, shield, trio, sphere. When man is reminded of his place in the order of nature, when he finds himself cut down to size, he goes through a franciscan or ovidian revolution, whichever you prefer, and acquires some of his original modesty about force, his own and otherwise. Beasts and angels, devils, witches, trees and stones, cocks and centaurs are necessary items of human phenomenology (and only, and exactly, in that science). They are dangerous outside that moral frame – as we have had recent occasion to know.3 

The Diagram

The Diagram has been around for more than ten years, and during that time has demonstrated a unique editorial bias toward an unusual mix of text and schematic. Sometimes the text edges toward the biological, as in Danielle Aquiline's poem "West Coast Entomology," or the astrophysical, as in Dan Albergotti's untitled "Alone."

The editors' interests are in

. . . art and writing that demonstrates / interaction; the processes / of things, both inner and outer; how certain functions are accomplished; how things become. How they expire. How they move or churn, or stand.
We'll consider anything you see fit to send us.

Kairo

Kairo describes itself as a Journal of Rhetoric, Technology, and Pedagogy. The journal has been online since 1996. From Kairo's About page:

We publish "webtexts," which are texts authored specifically for publication on the World Wide Web. Webtexts are scholarly examinations of topics related to technology in English Studies fields (e.g., rhetoric, composition, technical and professional communication, education, creative writing, language and literature) and related fields such as media studies, informatics, arts technology, and others. Besides scholarly webtexts, Kairos publishes teaching-with-technology narratives, reviews of print and digital media, extended interviews with leading scholars, interactive exchanges, "letters" to the editors, and news and announcements of interest.