What is a good magazine and a good magazine culture?
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In this season of this series of discussions on the internal affairs of literature, we will be discussing the missing, coherent vision of literature policy, which could compete with the dominant cultural policy. We are not trying to grieve over this sense of absence, but we are calling our audience to visualize. In the discussion in February, we invited editors of journals and asked them not to address the topic of abstraction that has been discussed in recent years, but to talk about their vision and their own practices, which should also be supported by the ideal cultural policy at all times. In addition to the rhymes of mourning, we rarely have time to talk about the joy of ever more difficult action and the desire for action, while we cannot let go of the answers to the real question: why do we need magazines?
Conversation participants:
{\pos (192,210) }{\pos (192,210) }{\pos (192,210) }{\pos (192,210) }{\pos (192,210) } He was born and raised in Marosvásárhely, currently lives in Budapest. His first volume of poems was not published in 2025, in the care of the Transylvanian Hirado Publisher and FISZ. He was a member of the Theatre magazine, one of the moderators and organizers of the Knife Vila conversation series.
Tóth Ramóna MIRTILL He was born in Budapest in 1999. He is the editor-in-chief of Kalligram Publishing and editor-in-chief of Kalligram magazine. He is one of the founding-in-chief editors of the No Online Journal, head of the NINCS Cultural Foundation.
// VESZPRÉMI SILVESTER poet, community organizer, blogger. The community organizer of the Stop Community House, organizer of the Literary Programs of the Grand Café, member of the Statue Workshop, second volume entitled Vijjogók will be published shortly in the care of Prae Publisher. He has never been edited, but at the end of too many magazine roundtable discussions he has felt unwitting, his selfish goal is not to leave this conversation like this.
We go around with invited guests in a series of discussions on the internal affairs of literature, about which we talk in whispers after book presentations, about which we already understand from a brief glance what the other person thinks, and which we should therefore discuss thoroughly. I'm not sure this series of conversations will make the literary public speech more transparent, we may not make great structural changes, but we'll act like everything around us is normal, and it's enough for us to say things articulately and intelligibly.
Access to the program is free, but the income of the appointed slush fund supports the Literary programs of the Grand Café from the bottom.