Interview With Nat. Brut

In recent years, the conventional print magazine has gone through a very public struggle with the internet. At the other end of the spectrum are blogs and blog-like digital publications, which tend to gain flash-in-the-pan popularity without ever establishing a longterm readership, typically due to lack of editorial intervention. Somewhere in the middle is Nat. Brut, a quarterly magazine of arts and culture born in and adapted to the 21st century.

Much like a print magazine, Nat. Brut is meticulously edited and curated by a small staff devoted to publishing the best new artistic and critical work being done around the world today. But unlike a print publication, pieces in Nat. Brut are accessible, shareable, and entirely free. By ducking the costs of print and emphasizing assemblage over web feeds and real-time updates, Nat. Brut is able to publish a large collection of new work four times per year, to be consumed anytime, anywhere.

Each issue of Nat. Brut is rooted in literary works—fiction, poetry, essays, interviews—but because it is a digital publication, each edition is enhanced by the display of hi-res visual art, short films, and quarterly audio mixtapes. Nat. Brut is a cross-genre, hybrid effort, bringing together artists of every kind to create a fully immersive ‘reading’ experience.

The most important feature of the magazine, of course, it’s the content itself. Nat. Brut is proud to be a self-funded effort, tied in no way to financial, academic, or literary institutions. This allows the publication an uncommon measure of editorial freedom and makes for a diverse, eclectic collection of works. Each issue of Nat. Brut contains some familiar names—poets like Carl Philips, D.A. Powell, and Amy Newman, filmmaker Benh Zeitlin, fiction writer Joe Wenderoth—while remaining committed to debuting work from new artists and writers. Nat. Brut has no agenda or concrete philosophy beyond the publication and presentation of exciting, original, and challenging new art and writing.