Sunday, November 17, 2019

"The Suit" by Julie Marie Wade

american literary review suit wadeThe Suit,” published in the Spring 2019 issue of American Literary Review, is an essay by Julie Marie Wade in which Wade questions, but never resolves, what it means for her to be born in a female body.

Much of the essay is set in scene and centered around a tight-fitting suit that Wade’s mother is committed to squeezing her husband—Wade’s father—into. When Wade’s image-obsessed mother is not home, her father splurges on James Bond films and hotdogs and explains to Wade that “every man wants to be James Bond,” even though he doesn’t believe he will ever be similar to the handsome agent.

Meanwhile, Wade’s mother encourages Wade to nominate her as “Most Inspirational Mother,” via a department store writing contest. Between scenes, Wade gives us drafts of her contest submission where she wrestles with representing her mother in “equal parts nice and true.” Wade tries to define her mother as a woman who “can see through who people appear to be and identify who they might be.” In these drafts, we understand that although Wade praises her mother, she also examines how her family relationships influence the way she approaches her own identity.

Through metaphor, shopping with her parents, and contest drafts, this coming-of-age essay is a story that explores gender identity in a home that explicitly encourages traditional roles.

 

Review by Alyssa Witbeck Alexander



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Sunday, November 3, 2019

2019 Laux/Millar Poetry Prize Winner

laux millar prize blogIn the Fall 2019 issue of Raleigh Review, readers can find the winners and finalists of the 2019 Laux/Millar Poetry Prize, selected by Dorianne Laux & Joseph Millar. Readers can easily find these pieces in the current issue as they're outlined in gradient blue (winner) and pink (finalists).

Winner
Iguana Iguana” by Caylin Capra-Thomas

Finalists:
"At the Bar" by Cameron McGill
"The Land in Both Our Names" by Suzanne Grove
"After Watching The Quiet Man" by Hannah Dow
"Sertraline" by Emily Nason

Submissions to the 2020 Laux/Millar Poetry Prize will reopen in April and run through May.​​



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Tuesday, October 29, 2019

October 2019 Award-Winning Books

2019 october prize winnersToday we’re bringing you a tall stack of award-winning fiction and poetry books published this past month. Click Read More to find the full list.

2019 october prize winnersToday we’re bringing you a tall stack of award-winning fiction and poetry books published this past month.

Winner of the Drue Heinz Literature Prize, Driving in Cars with Homeless Men by Kate Wisel, was released at the start of the month. Prize judge Min Jin Lee says of the selection: “You can hear the crackle of heat and the roar of a powerful fire burning through these pages. Young angry women, brokenhearted mothers, and men who are lost to themselves and others struggle in the world of Driving in Cars with Homeless Men.”

Ashley Wurzbacher’s Happy Like This won the 2019 John Simmons Short Fiction Award. Judge Carmen Maria Machado says of the debut story collection: “these dark, lyrical, sinewy stories about women’s relationships with their bodies and with each other” “surprised [her] at every turn.”

Emily Wortman-Wunder won the 2019 Iowa Short Fiction Award with Not a Thing to Comfort You. Also judged by Machado, she calls the collection funny and inventive with “such careful attention paid to these stories, to people and the environment alike.”

Leanna Petronella took home the 2018 Pleiades Press Editors Prize for Poetry with the collection The Imaginary Age. The stories the poems tell are of loss, though Petronella refuses to romanticize grief, instead highlighting the many guises and contours of grief’s ugliness.

Avery Colt is a Snake, A Thief, A Liar by Ron Austin won the Nilsen Prize for a First Novel (submissions currently open until November 15). The semi-autobiographical linked short story collection is charged with urgency and emotion as it follows the misadventures of Avery Colt as he struggles to survive in North St. Louis.

Haesong Kwon’s The People’s Field won the 2018 Cowles Poetry Prize. Jenny Yang Cropp made the final selection for the prize and says, “These poems, short and spare, carry the intensity of distillation but resist the epigrammatic as they show us a rich and complex landscape that asks for and earns.”

Mid-month saw the release of The Lightness of Water & Other Stories by Rhonda Browning White, winner of the 2019 Press 53 Award for Fiction (open until December 31). Selected by Press 53 publisher and editor-in-chief Kevin Morgan Watson, the short story collection is “down-to-earth, driven by strong characters, especially women, who speak a deep truth about the human condition and our relationships with one another and the world.”

Bruce Weigl brought home the prize for the Isabella Gardner Poetry Award with his poetry collection On the Shores of Welcome Home. In these poems, Weigl meditates on the ghosts and the grace one encounters in life’s second act.



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Monday, October 28, 2019

2019 Raymond Carver Contest Winners

april sopkin blogThe Fall 2019 issue of Carve Magazine features the winners of the 2019 Raymond Carver Contest, guest-judged by Claire Fuller. These can be found online, as well as in the print issue. An interview with each writer can be found after their stories in the print edition.

First Place
“Private Lives” by April Sopkin

Second Place
“Gravity House” by Carolyn Bishop

Third Place
“The Enchanted Forest” by Brian Crawford

Editor’s Choice
“The Ghost Rider” by Erica Plouffe Lazure

The Raymond Carver Contest reopens for submissions in April. The Carve Magazine Prose & Poetry Contest is currently open until November 15.



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Monday, October 7, 2019

'How to Tell If You Are Human: Diagram Poems' by Jessy Randall

how to tell if you are human randallDo you ever find yourself feeling out of sorts, unable to tell if you’re still human? Jessy Randall has considered this feeling and helps readers handle it with an instructional manual of sorts in How to Tell If You Are Human: Diagram Poems, part of the Pleaides Press Visual Poetry Series.

Repurposing graphs and images to create visual poems, Randall’s works are minimal in style as they capture the complexity of human emotions. Although most of poems are just one sentence or phrase long, they manage to make connections with readers, leaving space to insert themselves as the speaker, to figure out whether or not they’re human.

 

Review by Katy Haas



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Friday, September 27, 2019

Heron Tree Found in the Public Domain

heron treeBetween October 2016 and February 2017, Heron Tree online poetry journal published a series of works "constructed from materials in the pubic domain in the United States." Editors Chris Campolo and Rebecca Resinski then compiled these into a PDF ebook, Found in the Public Domain, that is free to download.

Contributors include Melissa Frederick, Wendy DeGroat, Karen L. George, Howie Good, Tamiko Nimura, Winston Plowes, Deborah Purdy, M. A. Scott, Margo Taft Stever, Carey Voss, and Sarah Ann Winn. The booklet includes a section of notes from each contributor on their source(s) and process.

Heron Tree publishes poems individually on their website and collects them into volumes and special issues. All content is available for readers online. The publications is open for submissions for volume seven through December 1, 2019.



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Wednesday, September 18, 2019

3Elements Review Themed Writing Prompts

Looking to spark your motivation for writing? Try the latest prompt from 3Elements Review: Carriage, Pinwheel, Scour.

3elements reviewEach quarter, 3Elements Review presents three elements, and all three must be used in the story or poem in order to be considered for publication. 

The editors expand on this guideline, "Your story or poem doesn’t have to be about the three elements or even revolve around them; simply use your imagination to create whatever you want. You can use any form of the words/elements for the given submission period. For example, if the elements are: Flash, Whimsy, and Seizure; we would accept the usage of Flashed, Whimsical, and Seizures."

3Elements also accepts artwork and photography based on at least one of the elements - "but creating something that represents all three elements will really impress us."

The deadline for this quarter is November 30, 2019.



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Wednesday, September 11, 2019

Understorey Offers Editing for Submissions

understorey magazineUnderstorey Magazine is an online publication of Canadian literature and visual art inviting "compelling, original stories and art by Canadian writers and artists who identify as women or non-binary."

For Issue 17 themed Nature: Writing on a World under Threat, the editors are offering free editing services for submissions. In an effort to "inspire new and emerging writers, as well as support established writers," the editors are offering to "send our thoughts on what already works and what can be improved." Not all works will be published, but with this effort, Understorey hopes to help women writers "polish" their writing and "find a place to share it with the world."

A very generous offer indeed! Submission deadline is September 30.



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Sunday, September 8, 2019

2019 Witness Literary Award Winners

This spring, Witness, published by the Black Mountain Institute at the University of Nevada, Las Vegas, announced the winners of its inaugural Literary Awards in Fiction and Poetry.

sophia stidPoetry Winner
Judge Hanif Abdurraqib
“Apophatic Ghazal” by Sophia Stid [pictured]

Poetry Runner-up
"lump" by Renia White

Fiction Winner
Judge Lesley Nneka Arimah
“The Nine-Tailed Fox Explains” by Jane Pek

Fiction Runner-up
“The Kristian Vang Fan Club” by 
John Tait

For more information on the winning entries as well as a full list of finalists, click here. Winning entries can be read in the Spring 2019 issue.

Submissions for the 2020 contest are open until October 1, as well as general submissions on the theme "Magic."



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Friday, August 30, 2019

New Lit on the Block :: Slippage Lit

slippage litI have a friend who likes to order items on a menu that are sound fun to say when we go out to eat. That’s how I first came to try calamari and bibimbap. It’s also a way to discover great new lit mags, like Slippage Lit, whose co-editors, Jacob Parsons and Admir Šiljak, along with Social Media Editor Semina Pekmezović, admit they chose the name because they just like the way it sounds. But that’s not the only reason.

slippage litI have a friend who likes to order items on a menu that are sound fun to say when we go out to eat. That’s how I first came to try calamari and bibimbap. It’s also a way to discover great new lit mags, like Slippage Lit, whose co-editors, Jacob Parsons and Admir Šiljak, along with Social Media Editor Semina Pekmezović, admit they chose the name because they just like the way it sounds. But that’s not the only reason.

“We decided on Slippage Lit,” they said, “because part of the idea of our magazine is that we look for the sort of work that doesn’t get enough attention, the great work that slips through cracks.” That great work includes poetry, fiction and nonfiction up to 5000 words for web publication in March, July, and November.

Slippage Lit was founded in late 2018 in Sarajevo “by two Bosnians and one geographically-challenged Australian.” Jacob and Admir are themselves both writers who have studied literature at university. Slippage Lit, they admit, is “a new, but not wholly unfamiliar venture for us. Mostly though, it’s our enthusiasm for unusual and underappreciated styles of literature that best qualifies us to do what we do.”

The editors add that they started Slippage Lit "because we were curious and enthusiastic about bringing a new literary journal to life. Literary magazines are a very important, yet underappreciated, part of the literary industry, and it was a project that excited us. Once we decided we wanted to pursue this, we thought about why Slippage Lit needed to exist and what we could offer that was unique. Through considering this, we developed our mission of providing a platform for the strange or outdated, yet still high-quality literary work."

Writers who feel their work would be a good match can expect a well-developed submissions and editorial process from Slippage Lit. “We receive all submissions via e-mail and read them as soon as we can,” Admir and Jacob explain. “Then, we meet once every few days and go through all the submissions one by one, deciding what to do with them. We receive far more work than we can publish, which means we send a lot of rejection emails. We have a ‘maybe’ pile, for when we feel we need to revisit and spend more time with the submission to make a decision. We try to keep that pile small though and reply as promptly as we can. Then there are the few submissions that we read and both feel strongly enough about to immediately send out an acceptance letter. Important to us is not only the quality of the piece, but also if it fits the mission of the magazine. Luckily, both of us are largely on the same page, and we can always come to agree on how to handle each submission.”

For readers, that thoughtful process results in a finely tuned, quality publication of unique writing. “Readers can expect to find the sorts of writing that they don’t often come across. From long poems that require constantly scrolling down the page, to challenging, realism-abandoning short stories, to list essays featuring Florida Man and Justin Bieber. Our tastes are eclectic and looking through our issues is sure to surprise and delight readers.”

Contributors to the first two issues include Glen Armstrong, Evelynn Black, Annie Blake, Robert Boucheron, Steve Carr, Suzanne Craig-Whytock, Emilie Collyer, Warren J Cox, Julia Ernesti (art), Adam Ford, Nick Fuller Googins, Shannon Frost Greenstein, Shona Hawkes, Toshiya Kamei, Robbie Maakestad, Finley MacDonald, Lukas Maier (art), Em Meller, Sarah Priscus, Iliana Vargas, Ben Walter, Mariah Whelan, and Christopher Woods.

Although Jacob and Admir admit, “Bringing out one issue of a magazine is difficult, bringing out issue after issue and maintaining the quality and remaining an inviting place for readers and writers alike, is more difficult,” they are committed to the future of Slippage Lit.

Their motivation comes from the very reason they started the publication: “Interacting with writers and sending acceptance letters are great joys that come with running a literary magazine. Also seeing an issue come together and noticing how the different works, selected independently, inform and interact with each other when compiled into a single issue is one of the unexpected, but welcome joys we’ve discovered while working on this magazine. It’s a wonderful thing to work with other writers and be a part of an experience like this.”

And NewPages welcomes Slippage Lit as a wonderful new addition to the literary community!



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Tuesday, August 20, 2019

2019 Dogwood Literary Award Winners

Issue 18 of Dogwood features the winners of the 2019 Dogwood Literary Awards:

gillian vikDogwood Literary Award in Fiction
Judge Phil Klay
"Whom the Lion Seeks" by Annie Lampman

Dogwood Literary Award in Poetry
Judge Lia Purpura
"The Cancer Menagerie" by Gillian Vik [pictured]

Dogwood Literary Award in Nonfiction
Judge Lia Purpura
"The Taste of It" by Nikita Nelin

The deadline for the 2020 contest is September 5, 2019. Winners in each genre receive $1000 in addition to publication. See full guidelines here.



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Wednesday, July 24, 2019

American Literary Review - Summer 2019

american literary review spring 2019In the latest issue, American Literary Review brings readers the winners of the annual ALR Awards. The 2019 winners feature Ellen Seusy in poetry, Cady Vishniac in fiction, and Julialicia Case in nonfiction.

Seusy’s “The Spiral Jetty” is an ekphrastic poem about Robert Smithson’s titular art piece. Seusy’s speaker compares Smithson’s creation with six-year-olds creating bowls from mud and spit, pointing out how “It’s the making that matters most,” even now that “we’re / out of breath, still running. Still tasting / dirt and salt. The work holds water, still.” It isn’t the finished product or the public reception that matters most—it’s the act of creating.

The narrator in Vishniac’s “Bumper Crop” faces the consequences he’s created for himself. The main character—bitter and a bit insufferable after his recent separation from his wife—encounters chickens on the way to the daycare where he works, an interruption to his usual day of hitting on his co-teacher, being too protective of his son who attends the daycare, and holding grudges against children. Vishniac crafts an entertaining story with a satisfying karmic ending.

Karmic endings also come into play in Case’s “The Stories I Do Not Know For Sure.” The nonfiction piece centers on Case’s former coworker David and his wife Sandra. The two concoct stories about their lives, stories that eventually fall apart, revealing muddled truths underneath. Case ends the piece reflecting on the stories we tell and the realities they create, recreate, or destroy. The gripping piece almost reads like a thriller, each paragraph revealing a new detail about Case’s story and the stories David and Sandra weave.

The winners of the ALR Awards are a great introduction to American Literary Review, and this year’s contest is currently open for submissions until October.

 

Review by Katy Haas



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Friday, July 19, 2019

New Lit on the Block: Paperbark

Promising “stimulating, relevant, high-quality writing and art from across the world” focused on issues related to climate change, environmental justice, social justice, and, in the case of their upcoming second issue, resilience, Paperbark Literary Magazine is a stunning new annual of poetry, prose, and visual and multimedia art.

Promising “stimulating, relevant, high-quality writing and art from across the world” focused on issues related to climate change, environmental justice, social justice, and, in the case of their upcoming second issue, resilience, Paperbark Literary Magazine is a stunning new annual of poetry, prose, and visual and multimedia art.

Originally developed by a cooperative network of faculty, graduate students, and alumni of the University of Massachusetts Amherst, from both the College of Earth and Sustainability and the College of the Humanities and Fine Arts, Editor-in-Chief Rachel Berggren explains, Paperbark  began in early 2015 as Book And Plow. “The team developed and refined strategic plans, proposals, and preliminary budgets before passing the baton to the next generation of enthusiastic graduate students in the Fall of 2016. Though the new staff at the time changed the name to Paperbark, the magazine remains rooted in the original vision to create a literary magazine that lives at the intersection of sustainability, environmental justice, and the fine arts."

“The name Paperbark,” shares Managing Editor Erin Wnorowski, “came from a tree, while not native to the New England area, is on the top of the list as part of a local initiative by The Public Amherst Shade Tree Committee to plant more trees. As such, we wanted to name the magazine after something that represented the types of sustainability-based activities we would like to champion.”

Joining them on the editorial team are Creative Director Sarena Brown, Visual Media Coordinator Allyson Fairweather, Marketing Director Caroline B. Heafey, Submissions Editor Tara Dugan, Special Projects Coordinator Charles Misenti, and Outreach and Engagement Coordinator Luke Canavan. “We are a diverse, interdisciplinary team,” Rachel says. “This contributes to Paperbark 's unique vision and voice. We are writers, scientists, artists, architects, and activists.” Read more about Paperbark ’s staff here

Taking the reins of an established publication is no easy task, trying to hold to original intent while also putting your own signature on it. Rachel understands this, “The founders were motivated to create a platform for conversations about environmental justice, climate change, and the promotion of the literary fine arts.” From this, Paperbark Literary Magazine will continue “as an expression of the intellectual and artistic currents working to shape collective consciousness about issues of sustainability in the dynamic, complex sociopolitical environment we live in today.”

The process is one that has rewarded their efforts, as Erin recounts, “Something we have been surprised by and excited about has been watching the magazine evolve into a mechanism for community building. By creating this physical space for conversations about things that matter, we have built community and created that space within our community through events and workshops. Seeing people from multiple disciplines and walks of life in the same room talking about the past, hope for a better future, and working collaboratively to envision ways to bring about a more just and sustainable world has been so fulfilling and inspiring. We hope to be more than a magazine. We are working toward being a catalyst for change.”

For writers wanting to join in being a catalyst for change by submitting works, Paperbark 's Submissions Editor manages a group of readers, and each submission is reviewed by the readers, the Creative Director, and ultimately the editorial staff. Paperbark  has many advisers and mentors who contribute to the publication’s vision - Editorial Reviewers and an Advisory Board – and their plan this year is to have the entire issue peer-reviewed before it goes to print.

Each issue is produced in both print and online with different content in each (soon to have full content available online). Issue 1 themed Emergence featured

Issue 2 will be themed Resilience, and the theme for Issue 3 will be announced this fall.

Rachel closed by saying, “Paperbark does not have full-time, paid staff members; it is operated by graduate student volunteers with a passion for the mission and content. Our primary goal is to continue to publish the magazine annually, and ultimately become financially sustainable, so we can continue blurring the lines between disciplines and featuring the work of talented, outspoken writers and artists.”

Readers and writers alike can help make this vision a reality.



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Friday, July 12, 2019

New Lit on the Block: The Shore

the shoreCutting, strange, and daring  are the words The Shore uses to describe the kind of poetry they seek to publish for its readership. Like the waters of lakes or seas or even rivers, the editors detail, “We want poems that push and ache and recede.” And like any beautiful and powerful shoreline, how could readers and writers not be drawn in?

the shoreCutting, strange, and daring  are the words The Shore uses to describe the kind of poetry they seek to publish for its readership. Like the waters of lakes or seas or even rivers, the editors detail, “We want poems that push and ache and recede.” And like any beautiful and powerful shoreline, how could readers and writers not be drawn in?

The name, The Shore, was originally Editor Caroline Chavatel's idea. “We all worked together on the Eastern Shore of Maryland before dispersing across the country,” the editors explain. “We agreed the idea of a shore (as a liminal space, an in-between, a place where meaning is made) was a solid concept to build a mission statement for a literary genre around.” Already with their second issue online, they tell me it is a name they have wholly grown into.

caroline chavatelThe editorial team draws from the vast experience of three co-editors and founders, Caroline Chavatel [pictured],  Emma DePanise and John A. Nieves, and one interview editor, Ellery Beck. Caroline, a PhD candidate at Georgia State University won The Laurel Review Midwest Chapbook Contest for her first chapbook, White Noises. Emma is an MFA candidate at Purdue University who recently won an AWP Intro Journal Award and the Pablo Neruda Prize in Poetry. John A. Nieves is Associate Professor and Director of Graduate Studies in English at Salisbury University. His first book, Curio, won the Elixir Press Annual Judges Prize, and Ellery Beck is an undergraduate at Salisbury University and was a winner of the Portland Review AWP Flash prize.

emma depaniseWith so much of their own work to focus on, the editors explain their generous desire to start up a journal: “We all deeply believe in contemporary poetry and love the idea of getting poems into the world that stretch the way we understand it. We want to help share daring and finely crafted work with the literary world. We also deeply admire many literary magazines and we wanted to become a part of that important community.” [Emma DePanise pictured]

While frustrations in journal start-up can be many and multifaceted, The Shore editors take a tone of appreciation in the process, “One great joy we experienced was putting out the first issue and figuring out how to promote it. We fliered much of the AWP bookfair and personally talked to everyone we could about the magazine. It was so rewarding to see how receptive people were to our new endeavor. We are happy to say our second issue is getting even more attention than our first. It has been such a joy for our team to share this experience and learn as we go.”

For writers, the editors believe they continue to stay true to their mission as expressed in their call, and encourage new and established poets alike to submit "poems that explore the worlds of things and ideas, that recognize the liminality, the shifting of everything around us and our ability to name a thing whole." Each issue will feature around twenty-five poets, a visual artist, and interviews based on the work of each issue.

In terms of editorial process, all three co-editors read every single submission, making notes which they discuss via weekly virtual meetings. The editors work collectively to decide what to hold onto and what to let go and to strategize the shape of the upcoming issue. The interview editor then chooses two authors per issue to interview out of the accepted work.

john a nievesThe editors have a clear intention for readers, “We want poems that try to understand the world anew. We want poems that make us have to go back to them, to read them aloud, to tell others about them.” Isn’t that the best kind of poetry? Among those who meet the criteria for the first two issues: JK Anowe, Jack B. Bedell, Ryan Clark, Charlotte Covey, Satya Dash, Alejandro Ruiz del Sol, Jordan Durham, Sneha Subramanian Kanta, Nancy Mitchell, Anand Prahlad, Nicole Rollender, Christine Spillson, Bob Sykora, Alexandra Teague, and Matthew Woodman. Chelsea Dingman and Matty Layne Glasgow are poets featured in interviews, and Maggie Delaney and Katie Chavatel have been featured artists. [John A. Nieves pictured]

Heading into the second half of their first year, the editors comment, “We hope to keep growing in readership and reputation and eventually in staff. We really enjoy working together and we would love to get as much excellent work out into the world as possible. Our goal is to deliver stunning poetry every issue and to have people able to count on us for that.”

Issues one and two are available to read online. Submissions for issue three (Autumn 2019) are open until September 1, 2019.



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Monday, July 1, 2019

About Place and Dignity as an Endangered Species

about place journalPublished by the Black Earth Institute, dedicated to re-forging the links between art, spirit, and society, the May 2019 issue of About Place is themed "Dignity As An Endangered Species."

Issue Editor Pamela Uschuk notes that the editors "chose work that addressed the question, what is dignity?" from the starting point that "dignity is endangered during these times." Assistant Editor CMarie Fuhrman asserts, "It is necessary that we begin to define, for ourselves and as a Nation, that which makes us human, humane." And Assistant Editor Maggie Miller explores the concept of dignity and closes her preface: "With chin up, shoulders back, we too go forward – with dignity given not  taken away."

Contributors to the issue include Rita Dove, Joy Harjo, Jacqueline Johnson, Patricia Spears Jones, Fenton Johnson, Patricia Jabbeh Wesley, Linda Weasel Head, Kelle Groom, Maria Melendez Kelson, Cornelius Eady, Sagirah Shahid, Inés Hernández-Ávila, Gerald L. Coleman, K.LEE, K. Eltinaé, and Kimberly Blaeser.

Submissions for the next issue of About Place Journal are being accepted until August 1, 2019 on the theme: "Infinite Country: Deepening Our Connection to Place, Culture and One Another." Editor Austin Smith and Assistant Editors Taylor Brorby and  Brenna Cussen Anglada.



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Monday, June 24, 2019

Editors Talk Poetry Acceptances

The editors of Frontier Poetry, in keeping with their mission "to provide practical help for serious writers," especially emerging poets, has a series of interviews - Editors Talk Poetry Acceptances - with "great editors from around the literary community." Frontier Poetry asks for "frank thoughts on why poems may get accepted/rejected from their own slush pile of submissions, and what poets can do to better their chances."

esther vincentAdding an interview almost every month, Frontier Poetry has so far interviewed Kristin George Bagdanov of Ruminate Magazine, Rick Barot of New England Review, Chelene Knight of Room, Esther Vincent [pictured] of The Tiger Moth Review, Talin Tahajian of Adroit Journal, J.P. Dancing Bear of Verse Daily, Gabrielle Bates of Seattle Review, Melissa Crowe of Beloit Poetry Journal, Marion Wrenn of Painted Bride Quarterly, Hannah Aizenman of The New Yorker, Anthony Frame of Glass Poetry, Luther Hughes of The Shade Journal, Don Share of Poetry, Sumita Chakraborty of Agni, Jessica Faust of The Southern Review, and Kwame Dawes of Prairie Schooner.



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Tuesday, June 18, 2019

CFS Contemporary Chicanx Writers

cutthroatCutthroat: A Journal of the Arts is collaborating with Black Earth Institute on the publication of a major anthology of contemporary Chicanx writers. Until July 1, 2019, they are accepting submissions of Chicanx poetry and prose from across the country.

The editors for this collection will be Luis Alberto Urrea, Pam Uschuk, Matt Mendez, Beth Alvarado, William Pitt Root, Carmen Calatayud, Carmen Tafolla, Octavio Quintanilla, Theresa Acevedo, Denise Chavez and Edward Vidaurre.

Submission Guidelines: "We are looking for Chicanx writers of poems and prose, from the rasquache to the refined. We want writing that goes deep into the culture and reveals our heritage in new ways. We want experiences, from blue collar gigs to going into higher education and pursuing PhDs. We want work that challenges. That is irreverent. That is both defiant and inventive. That is well-crafted. That is puro Chicanx. We acknowledge Chicanx is an attitude that may intersect with Latinx."

For more information, visit the Cutthroat website.



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Tuesday, June 11, 2019

David Lynn Steps Down from Kenyon Review

Having served as editor of Kenyon Review since 1994, David Lynn will be stepping down next spring. The publication board, staff and college will be setting a timeline for the application process to consider candidates this upcoming fall or winter. The submission period for this year will be limited as a result of this transition. "In anticipation of a new editor’s arrival, we must maintain space in upcoming issues, so we will be limiting our open period of submissions to September 15-October 1, 2019," writes Alicia Misarti, The Kenyon Review Director of Operations.

Fortunately, Lynn plans to remain active at Kenyon College, as the college president Sean M. Decatur notes, "We’ve already been in conversations on some ideas about other initiatives involving writing and literature for the College."

Our thanks to David Lynn for his years of commitment to the literary community as editor, and our best to all at Kenyon Review during this time of change.



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Thursday, May 23, 2019

'Something Like the End' by Ashley Morrow Hermsmeier

something like end morrow hermsmeierAshley Morrow Hermsmeier dedicates Something Like the End—winner of the Fall 2017 Black River Chapbook Competition—to “the strange and lonely,” appropriate when the characters of her six-story chapbook are living lives that are just that: a bit strange and a bit lonely.

A woman prepares for an oncoming plague-like wave of bees, and, alone, faces that there are other things to be cautious of in the end of days; a city experiences an unending earthquake; a woman drawn to a mysterious stray cat can’t help thinking about her ex; a woman buries and reburies zombified past versions of herself that keep showing up at her door, versions that died so she could keep living; a futuristic assisted suicide is advertised, its five simple steps outlined for interested parties; and a beauty and beast couple can’t stop dancing as the world ends around them.

While short, each piece manages to push the boundaries of what’s expected. Love stories are surrounded by ruin, break-up stories are haunted by feral animals and zombies, and in each piece, we see the complex ways in which we interact with other humans, or how we interact with the earth that is rapidly changing around us.

Morrow Hermsmeier’s work in this chapbook is imaginative and arresting as it offers solidarity to the strange, lonely reader.

Review by Katy Haas



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Thursday, May 9, 2019

Alan Ginsberg Poetry Prize Winners

Winning entries for the 2018 Ginsberg Poetry Award are featured in the 2019 issue of Patterson Literary Review.

jim reeseFirst Prize $1000
“Dancing Room Only”
Jim Reese [pictured], Yankton, SD

Second Prize $200
“Cu Tantu Si Cala ‘U Culu Si Para”
Maria Fama, Philadelphia, PA

Third Prize $100
“New Suit”
Lorraine Conlin, Wantagh, NY

A full list of Honorable Mention and Editor's Choice recipients can be seen here.

The Alan Ginsberg Poetry Award for 2019 has closed, but submissions are open for the 2020 award.



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Tuesday, April 30, 2019

Books :: 2018 Orison Poetry Prize Winner Published

as one fire consumes the other williamsThe Winner of the 2018 Orison Poetry Prize was published earlier this month, and readers can now find As One Fire Consumes Another by John Sibley Williams at the publisher’s website. A meeting of metaphysics and social critique, the poems in this collection examine American history and violence.

Judge Vandana Khanna says of her selection: “John Sibley Williams’ collection As One Fire Consumes Another transcends beyond the boundaries of family and history and country, beyond the body’s tragedies, [ . . . ]. These poems rise as invocation, as testimonial to life’s unfiltered beauty, violence, and faith, to the ‘light . . . already in us.’”

While you’re checking out advance praise for As One Fire Consumes Another, learn more about Orison Books’s prizes, including their new chapbook prize which is currently open.


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Wednesday, April 3, 2019

What Makes Sky Island Journal Unique

sky islandJason Splichal, Founder and Co-Editor-in-Chief of Sky Island Journal writes in his opening letter to Issue 7: "We are different from other literary journals in so many ways. While we appreciate and respect the paths that other publications have taken, it has been clear from the beginning that the path less taken will always be our path. The rugged independence and relentless tenacity required to stay on that path helps us to be mindful; every step we take should be made with kindness and humility. Reading and responding to every submission, then having the ability to share the work of writers from around the world with readers from around the world, are privileges beyond the telling. We're so grateful for our contributors and our readers."


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Tuesday, March 26, 2019

Books :: 2017 Philip Levine Prize in Poetry Winner Published

known by salt brazielIn January, Anhinga Press released the winner of their 2017 Philip Levine Prize for Poetry: Known by Salt by Tina Mozelle Braziel.

The annual prize awards $2000 to the winner, as well as publication and distribution of their winning manuscript. Submissions open in July.

Known by Salt was selected by C.G. Hanzlicek who says the collection: “is very much a book of celebrations. One arc of the book is the move from a life in a trailer park to a house that Tina and her husband build with their own hands, [ . . . ]. It also is a celebration of Alabama, [ . . . ]. Her observations are so keen [ . . . ] that they make me laugh out loud in my own celebration.”

Learn more at the publisher’s website, where you can also find a sample poem from the collection, “House Warming.”



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Thursday, March 14, 2019

Books :: End of Year Award Winners 2018

fall 2018 award winnersThere was a lot going on at the end of 2018, so maybe you missed out on some of the award-winning books published toward the tail end of the year. Don’t worry—we’ve got you covered.

October saw the publication of Earthly Delights and Other Apocalypses by Jen Julian, winner of the 2018 Press 53 Award for Short Fiction. Judge Kevin Morgan Watson says the stories “range from straight-ahead fiction to sci-fi or dystopian, all with a strong sense of place with well-developed characters whose challenges draw the reader in.” Order copies and learn more at the Press 53 website.

In November, BkMk Press published Sweet Herbaceous Miracle by Berwyn Moore, winner of the John Ciardi Prize for Poetry. Selected by Enid Shomer, Moore’s third collection of poetry arrives “like good news, like spring flowers from the garden,” according to advance praise from George Bilgere. Find out more at the publisher’s website.

BkMk Press also released When We Were Someone Else by Rachel Groves, winner of the G. S. Sharat Chandra Prize for Short Fiction, selected by Hilma Wolitzer. Quirky characters in unlivable spaces occupy the stories in this collection. On the press’s website, find advance praise and links to reviews to learn more.

Another title out in November: The Good Echo by Shena McAuliffe, winner of the Black Lawrence Press 2017 Big Moose Prize. Readers can find an excerpt of the novel at the publisher’s website when they order their copies.

Wrapping up the month of November is UNMANNED by Jessica Rae Bergamino, winner of the 2017 Noemi Press Poetry Prize (with submissions currently open until May 1). UNMANNED features persona poems from the perspective of two Voyager Space probes as queer femmes exploring space. See what readers thought of the collection as you order your copies.



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Wednesday, March 13, 2019

Read Rattle Young Poets

rypaSubscribers to Rattle poetry magazine get bonus in their mailbox with each spring issue: Rattle Young Poets Anthology. If you're not a subscriber, RYPA can be ordered separately for just $6.

The 2019 issue is a 48-page chapbook of work by twenty poets age fifteen or under, but don't let the age line fool you. Rattle editors write that this "is not a collection just for kids—these are missives to adults from the next generation, confronting big topics with fresh eyes and a child-like spontaneity."

Contributors include Lucia Baca, Angélica Borrego, Olivia Bourke, April Chukwueke, Lexi Duarte, Josephina Green, C.A. Harper, Lily Hicks, Angelique Jean Lindberg, Rylee McNiff, Ethan Paulk, Lydia Phelps, McKenzie Renfrew, Ellie Shumaker, Emmy Song, Rowan Stephenson, Saoirse Stice, Zachary Tsokos, Layla Varty, and Simon Zuckert, with cover art by Noralyn Lucero.

Submission deadline for the next issue is October 15, 2019.



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Monday, February 25, 2019

Alison Luterman Takes on Jussie Smollett

alison lutermanSince there is always a lag time created between contemporary news issues and publications of poetry, Rattle has created a quick-streaming solution.

Poets Respond takes weekly submissions (before midnight on Fridays) for works "written within the last week about a public event that occurred within the last week."

The poems then appear every Sunday on the Rattle homepage. The only criteria for the poem, the editors assert, is quality, "all opinions and reactions are welcome."

Selected poets receive $50, with poems sent before midnight on Sunday and Tuesday considered for a "bonus" mid-week post.

This week's selection is "In Defense of Those Who Harbor Terrible Ideas at Tax Time" by Alison Luterman [pictured], in which, yes, she considers "the young black gay actor who orchestrated / a fake hate crime against himself. / It must have seemed like such a good idea to him / at the time," and later in the poem offers, "I have to forgive this young man his terrible / idea, I have to because, in my own way, I’ve been him." 

For more information about Poets Respond and an archive of past works, click here.



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Thursday, February 21, 2019

Glimmer Train Family Matters Competition Winners

Glimmer Train has just chosen the winning stories for their Family Matters competition. This competition is open to all writers for stories about family of any configuration. Glimmer Train’s monthly submission calendar may be viewed here.

morian palaia1st place goes to Marian Palaia [pictured] of San Francisco, California, who wins $2500 for “Wild Things.” Her story will be published in Issue 106, the final issue of Glimmer Train Stories.

2nd place goes to Peter Parsons of Riverside, California, who wins $500 for “Elvis, Alive and Limping.” His story will also be published in Issue 106 of Glimmer Train, increasing his prize to $700.

3rd place goes to Emily Lackey of Amherst, Massachusetts, who wins $300 for “Trust.” Her story will also be published in Issue 106 of Glimmer Train, increasing her prize to $700.

Here’s a PDF of the Top 25.

Deadlines soon approaching!

Final Fiction Open: February 28
This is Glimmer Train’s final Fiction Open. First place wins $3000 plus publication in the journal, and 10 copies of that issue. Second/third: $1000/$600 and consideration for publication. This category has been won by both beginning and veteran writers - all are welcome! There are no theme restrictions. Word count generally ranges from 3000 – 6000, though up to 28,000 is fine. Stories may have previously appeared online but not in print. Click here for complete guidelines.

Final Very Short Fiction Award: February 28
This is Glimmer Train’s final Very Short Fiction Award. First place winning $2000 plus publication in the journal, and 10 copies of that issue. Second/third: $500/$300 and consideration for publication. It’s open to all writers, with no theme restrictions, and the word count range is 300 – 3000. Stories may have previously appeared online but not in print. Click here for complete guidelines.



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Tuesday, February 5, 2019

2018 Zone 3 Literary Awards

Each year, Zone 3 considers all poems, essays, and stories accepted for publication in the journal for their Literary Awards. Zone 3 editors choose the winners, each of whom receives $250 and publicaiton.

The fall 2018 issue includes the fiction and nonfiction winners, while the poetry winner was published in the spring 2018 issue.

ethan chuaPoetry
"Immigrant Prayer" by Ethan Chua [pictured]

Nonfiction
"Mea Culpa, My Monster" by Carrie Shipers

Fiction
"Halleujah Station" by Randal O'Wain

The reading period for submissions and the Literary Awards is August 1 - April 1.



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Wednesday, January 30, 2019

Giving Up on Lit Mags

I often run across commentary related to writers' frustrations with submitting to literary magazines, running into the Wall of Rejection, and rants against The Establishment perceived in many long-stading publications/academically-connected journals. Often, new publications are started by writers attempting to break down the barriers for other writers, promising to give consideration to those totally-unknown authors as well as those who do not come with a highly-acclaimed workshop/colony/MFA pedigree. Stick around literary publishing long enough, and the repetitions become easy to sort, but nonetheless, heartfelt and real for those going through them for the first time.

annette gendlerAnette Gendler, in her post "The Year I Gave Up Submitting to Literary Magazines" in Women Wrters, Women['s] Books, took a look at her publishing record a few years back, "As 2015 drew to a close, I reviewed my submissions log and noted that 25 submissions to literary magazines had yielded zero acceptances." After considering the usual self-blame ("not enough effort, I should have submitted more"), Gendler considered her record for the years prior: 32 submissions/0 acceptnaces; 68 submissions/0 acceptances.

For many reading this, I know the first thought: Maybe she's just not that good.

Consider her previous publication credits: Bella Grace, Washington Independent Review of Books, Tablet Magazine, Thread, Wall Street Journal, and, for a period of time before this 'dry spell': Flashquake, South Loop Review, Under the Sun, Bellevue Literary Review, Kaleidoscope, Natural Bridge, and Prime Number Magazine.

She's been published. She just wasn't seeing the results that would encourage her to continue banging her head against that Wall. Yet, she asked herself, "Could I abandon the mothership?" She did, and instead, "I focused on the publications whose work I truly admired and loved to read, and that’s where I kept submitting."

The result? "It’s not that suddenly all my work gets accepted, but the rate is much higher," Gendler writes. "I now look at my submissions in terms of publications I want to get into. I think about what I could write for  them."

After reading Gendler's commentary and seeing it had been a few years, I wondered, "Where is she now?" with her stance on lit mags, so I reached out to her to ask.

"My approach has pretty much stayed the same since then," she wrote, "I don't submit to literary magazines anymore. Not doing so was essentially a course correction for me. Literary magazines are just not the right market for my work, even though I write literary nonfiction and memoir."

As well, since that time, she has published her first book, Jumping over Shadows: A Memoir. Ironically, a lit mag editor, having read her post, asked her to submit something for their journal. She did, and they published The Flying Dutchman, an excerpt from her book.

 

 

 



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Thursday, January 17, 2019

Wednesday, January 9, 2019

Chattahoochee Review :: Lost and Found

anna schachnerThe Fall/Winter 2018 issue of The Chattahoochee Review is themed on "Lost & Found." Editor Anna Schachner [pictured] writes in the editorial: "In many ways, this issue's special focus of 'Lost and Found' is an homage to the writing process itself - the many slivers of ourselves we concede when we write and  the inevitable discovery via writing. That emphatic 'and' is important because it suggests an organic progression: that to lose something is to also create space to find something else, not just in writing, but in our thoughts, our expectations, our relationships. So many of the submissions we received seemed to concur, as did so many of the pieces ultimately chosen and featured herein."

Contributors include Cooper Casale, Margaret Diehl, John Hart, Lindsay Stuart Hill, Raina Joines, Timothy Krcmarik, David Rock, Sophia Stid, Brian Phillip Whalen, Jennifer Wheelock, Erica S. Arkin, John Brandon, Kieran Wray Kramer, Michele Ruby, Kevin Wilson, Ginger Eager, Jennifer Key, Caitlin McGill, Marilyn F. Moriarty, Raul Palma, and Rachel H. Palmer.



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