Glimmer Train has just chosen the winning stories for their May/June Short Story Award for New Writers. This competition is held three times a year and is open to all writers whose fiction has not appeared in a print publication with a circulation greater than 5000. The next Short Story Award competition will start on September 1: Short Story Award for New Writers. Glimmer Train’s monthly submission calendar may be viewed here.
1st place goes to Victoria Alejandra Garayalde of San Juan, Puerto Rico, who wins $2500 for “American Dream.” Her story will be published in Issue 104 of Glimmer Train Stories. This will be her first print publication. [Photo credit: Rebecca Titus]
2nd place goes to Jenzo DuQue of Brooklyn, NY, who wins $500 for “How to Harbor an Illegal.” His story will also be published in an upcoming issue, increasing his prize to $700. This will be his first print publication.
3rd place goes to Sena Moon of Ann Arbor, Michigan, who wins $300 for “Sugar.”
A PDF of the Top 25 winners can be found here.
Deadlines soon approaching!
Fiction Open: August 31 (grace period extends through September 10)
Glimmer Train hosts this competition twice a year, and 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.
Very Short Fiction Award: August 31 (grace period extends through September 10)
This competition is also held twice a year, with 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.
For teachers, Carve can re-print bulk orders of back issues (most of which are sold out in single copy), and also provides free lesson plans for single stories online. The lesson plans are availabe to download as Word documents and include a link to the story, some of which feature audio readings. The plans include group activites, discussion prompts, and critical reading and writing exercises. Just in time for the new school year!
For writers, Carve offers online writing classes exploring elements of craft. Writers can choose a self-study or community platform option, with six weekly lessons composed of assigned readings, notes on a particular craft element, questions to apply to the assigned reading, and writing exercises to practice the craft. Self-study students receive guided feedback on the reading and writing assignments (NOT manuscript critiques). The community platform options utilizes Wet Ink for a full course interaction with peers.
Also available for writers is a manuscript critique service, and for readers and writers alike, there is a free sign-up for Carve Tips for Writers delivered weekly to your mailbox or using RSS Feed or Apple News.
Much to be discovered and enjoyed at Carve!
If you’ve been itching to get your hands on copies of the 2018 Press 53 Award for Short Fiction winner, now you can. Readers may now preorder copies of Jen Julian’s Earthly Delights and Other Apocalypses which will ship early October and is available in both paperback and hardcover.
Publisher and Editor-in-Chief Kevin Morgan Watson says the collection:
held my interest while taking me on a variety of journeys, both real and surreal, from a paleontologist who spontaneously crumbles to dust during a lecture, to siblings dealing with their hoarder-father’s estate. These stories ranged widely in theme and style, and after finishing one story I looked forward to where I would be taken in the next.
While you’re waiting on your signed copy of Earthly Delights and Other Apocalypses, you can stop by TriQuarterly’s website for a taste of Julian’s writing with “Attachment,” published this past July.
I love the fairy tale aura of Wes Lee's "Day 242" on the cover of 2018 issue of The Meadow from Truckee Meadows Community College, as well as the magazine's new logo design.
I'm a sucker for a good old-fashioned fisheye lens, and luckily, The MacGuffin's own nonfiction editor, Michael Dyke doubles as a photographer, providing this view of Belle Isle Aquarium, Detroit, Michigan for the Spring 2018 cover.
Last week, Nimrod International Journal announced exciting news for writers: they are now a paying market. For work printed in the two upcoming 2019 issues, the editors will pay $10/page with a maximum of $200, visual artists will receive $10 per image used, and all contributors will continue to receive two copies of the issue in which their work appears.
Writers whose work is selected through the journal's two annual contests (Nimrod Literary Awards and the Francine Ringold Awards for New Writers) will also receive the new payment, though the monetary prizes for winners will remain the same.
Learn more and submit your own work at Nimrod’s website.
"Rejection doesn't have to be the end of the line" according to Carve Magazine. To which end, they include the coolest column in each issue: Decline/Accept, with commentary from a writer whose work, originally declined by Carve, has been accepted elsewhere. The author writes about their rejection/revision/acceptance, a snippet of the original work is included with Carve editors' comments as well the snippet revised (if applicable) along with editors' comments from the publication that accepted the work.
The Summer 2018 issue features Kelly Hill, whose story "The Bearded Loon" was published in the July 2017 issue of Upstreet. Hill comments on the rejection and subsequent acceptance, "I've been doing this writing thing long enough to understand that the story I set out to tell is not always the story I write or the story that others ultimately read. I'm always thankful for good feedback from insightful readers, although any feedback can be useful if it helps you mentally justify your stylistic choices."
Decline/Accept is a great craft component for readers and writers alike, and you can see a full listing with links out (when available) to the final published work here.
The Summer/Fall 2018 issue of Gulf Coast features several contest winners:
2017 Translation Prize
Chosen by John Keene
from Time to Be
by Camila Reimers
Translation by Lisa Carter [pictured]
2017 Barthelme Prize for Short Prose Winner
Chosen by Roxane Gay
"Pedro" by D.J. Thielke
The Inaugural Toni Beauchamp Prize in Critical Art Writing
Chosen by Darby English
"Dust Balls" by Brandon Brown
The Colorado Review cover photo by Brian Holland is luscious, and even more so when viewed full spread with the entire night-lit bridge in the background.
And a final splash of red and summer with "Picnic, Long Island, New York" by Ralph Gibson on the cover of the Summer 2018 issue of Michigan Quarterly Review.
Readers, do you find yourself wanting to support small presses, while not wanting to break your bank? Look no further than Press 53. Each month, they’ll now offer up a selection of their titles at a discounted price. Visit their website to see the current titles in poetry and fiction, including Mary Akers linked story collection Bones of an Inland Sea, and Stacy R. Nigliazzo’s award-winning poetry collection Scissored Moon.
That’s what writers do: we start over. For a writer, every day is a new day with a new beginning. Even if we are writing an essay or a book chapter we have been working on for days or months—or years!—we face our notebook or keyboard not really knowing what is going to happen to our work next. We may think and hope that we know, but we really don’t—at least until we are deep into the story. Even then, we are invariably surprised.
Lee Gutkind from his What's the Story introduction to the 4th Annual Readers' Choice Theme issue of Creative Nonfiction - Starting Over: Hitting the Reset Button
Perfect for the start of the new school year - whether or not you're a student! The Southeast Review is offering its second Writer's Regimen for poets, essayists, and fiction writers who would benefit from incorporating structure into their daily writing practice - or perhaps get a daily practice started! Editor Dorothy Chan explains:
This October, The Southeast Review 30-Day Writer's Regimen returns with daily prompts, daily exercises, and daily quotes to cure your writer's block and give you an endless source of creative inspiration! We've added daily themes, so get ready to immerse yourself into different worlds every day! We're also proud to announce craft talks by esteemed writers Ching-In Chen, Kao Kalia Yang [pictured], Sam Herschel Wein, and Timothy Liu. Registration is open now. This October, write lots of short stories and poems you'll be proud of. We hope you enjoy our regimen!
In addition to all the daily features, Writer's Regimen offer flashback craft talks from previous WRs for "more writing heavyweights" as well as a free copy of The Southeast Review.
For a PDF sample of the first regimen day, click here. Chan says, "This summer we've decided to innovate the regimen by including themes, and you'll notice the theme of Day 1 is 'secrets.' These themes will carry on for a few days and each day, subscribers will experience a variation of that theme. Other themes include translation, the body, Hollywood, and seduction."
Regular readers of The American Poetry Review will be exicted to see the new cover design starting with the July/August 2018 issue. We love it here at NewPages World Headquaters! Nicely done APR!
Diversity and the Arts is the theme of the Spring/Summer 2018 issue of Nimrod International Journal, featuring "Tree of Life," a gorgeous canvas, acrylic paint, composition leaf and embroidery piece by the Tulsa Girls Art School: "an afterschool, social service program that uses art as a vehicle to reach girls."
To date, Under a Warm Green Linden has funded the planting of 170 trees, and with the help of poetry lovers, hopes to continue this effort. One easy way to participate is by purchasing their limited edition broadsides which accompany each new journal issue. These are bea-u-ti-ful prints - I know because I have purchased every one of them! They are reproduced on high quality paper, full color, carefully packaged for safe shipping and, best of all, SIGNED by the authors. Pictured: "Song of Extinction" by David Axelrod.
Under a Warm Green Linden has also begun publishing chapbooks and has two available for purchase: Tempo Rubato by Boyer Rickel, A Place Where One by Barbara Cully, and bonehouse by Erika Brumett (forthcoming).
Broadsided Press art and poetry collaboration posters are available for free download and postering all about town as well as in PDF to share electronically.
August's Broadsided collaboration with words by Marci Calabretta Cancio-Bello and art by Elizabeth Terhune resulted in "Ghost Mantis."
In addition to their ongoing CFS, Broadsided is looking for "multilingual writing" for a special edition: "Many writers grow up in or become part of families and communities that speak more than one language, and at Broadsided Press, we think that’s worth celebrating. In this special 'Broadsided Responds' feature, we will offer a folio of work that speaks between and with multiple languages."
by Ryan Thorpe
The family of three examines
the dining table for four,
calculating out their marriage
prospect. They are unsure
of the wood’s soft shine,
doubting it will survive past
two winters. . .
Following the suspension of the 2018 Nobel Prize for Literature, The New Academy was created "to warrant that an international literary prize will be awarded in 2018, but also as a reminder that literature should be associated with democracy, openness, empathy and respect."
Librarians from across Sweden were invited to submit nominations of authors for the prize; voting opened to the global public on July 10 and will close on August 14.
The top four nominations from this long list will receive final assessment for the award by an "expert jury" comprised of: Jury President Ann Pålsson, editor and independent publisher; and Jury Members Lisbeth Larsson, Professor of Literature, Gothenburg University; Peter Stenson, editor and critic; and Gunilla Sandin, librarian director.
The winner will be announced October 14.
After nearly 30 years of continuous publication, Glimmer Train has announced that they will be closing shop after this next year of publication. Submissions are still being accepted to finish out with issue #106, but after that, sisters Linda Swanson-Davies and Susan Burmeister-Brown – or as we call them, The Glimmer Train Sisters – plan to retire the publication entirely.
While they have received many offers and inquiries to let others take over the renowned journal, The Sisters had already decided against this option. In a form letter response to such inquiries, The Sisters. . .
BY TED KOOSER, U.S. POET LAUREATE
In one of my recent columns I wrote about the importance to the overall effect of a poem of having a strong ending, and here's a fine example of that. It's by Terri Kirby Erickson, a North Carolinian, from her book, Becoming the Blue Heron, published by Press 53. Others of Erickson's poems are available in the column's archives at www.americanlifeinpoetry.org.
My Cousin, Milton
My cousin, Milton, worked for a cable company.
The boy I knew when we were children
had fists that were often clenched, his face set like
an old man whose life had been so hard,
it hardened him. But the man's hands opened to let
more of the world in. He sent the funniest
cards to family and friends at Christmas, laid down
cable so others could connect. Yet, he lived
alone, kept to himself much of the time, so when
his sister found his body, he'd been gone
a good while. He died young at fifty-seven, without
fuss or bother. No sitting by the bedside
or feeding him soup. He just laid himself down like
a trunk line and let the signal pass through.
We do not accept unsolicited manuscripts. American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska, Lincoln. Poem copyright ©2017 by Terri Kirby Erickson from Becoming the Blue Heron (Press 53, 2017). Poem reprinted by permission of Terri Kirby Erickson and the publisher. Introduction copyright ©2018 by The Poetry Foundation. The introduction’s author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006.
Frustrated with the current policital administration? You protest, rally, write letters, get yourself and others ready to vote...what more can you do? For poet and musician Ken Waldman (aka Alaska's Fiddling Poet), there's poetry. Sonnets to be exact, and a lot of them. With two volumes already completed and one more (at least) on the way, Waldman is taking this administration to task - and perhaps salvaging his own sanity as well as that of his readers - responding to the daily fodder by turning it to his muse for poetry.
Like many of us, in a stunned stupor the day after the election, Wednesday, November 9, 2016, Waldman writes that he was "processing Donald Trump's surprise victory in the 2016 U.S. presidential election, and wrote, 'You make George W. seem a statesman--your opening trick,' which I turned into the first line and a half of a sonnet. A week later I wrote two more Donald Trump-inspired sonnets. Between Thanksgiving and Christmas, another 68. That's 71 sonnets, a full-length collection. 41 were written in the voice of Donald Trump. The rest were addressed to him." The book's subtitle - The First 50 Days - speaks to the process many of us went through at the start.
Now in our second year of Trump's reign, Waldman continues to see us through with Trump Sonnets Volume 2: 33 Commentaries, 33 Dreams. "Half of this sequel's 66 poems is incisive commentary," writes Waldman,. "Half, dreams that I imagine Donald Trump might have, and those are in Trump's voice."
Both volumes, as well as Waldman's other books, are available through SPD Distribution or directly from Waldman. Visitors to his website can also view YouTube videos of Waldman reading the poems with a little bit of his iconic fiddling style thrown in.
In addition to celebrating its tenth anniversay of publication, the newest issue of Canada's Hamilton Arts & Letters (11.1) is also a celebration of Bertrand Russell and the 50th Anniversary of the Russell Archives.
Guest Editor Rick Stapleton [pictured] writes in his introduction, "In 1968 McMaster University purchased the first instalment of the archives of Bertrand Russell (1872-1970), a vast collection of letters, manuscripts, photographs, books and other personal material of one of the 20th century’s greatest philosophers, writers, and peace activists. At the time, the 96-year-old Russell was in need of funds to support his peace work, and McMaster’s university librarian, William Ready—renowned for his ‘buccaneering’ style of acquiring collections—was able to bid successfully for the archives. Now, 50 years later, we celebrate that event with this special issue of Hamilton Arts & Letters magazine, devoted to Bertrand Russell."
The issue is packed with poetry, artwork, and articles, including an Interview with Kenneth Blackwell, the original Bertrand Russell archivist by Wade Hemsworth; “'I Have Never Been a Complete Pacifist': Bertrand Russell on Peace and War in the Twentieth Century" by Andrew Bone; "Bertrand Russell and The Revolution in Twentieth Century Philosophy" by Nicholas Griffin; "A Rivalry? – Russell’s Lovers, Lady Ottoline Morrell and Lady Constance Malleson" by Sheila Turcon; "Hanging out with Bertrand Russell" by Terry Fallis; and "Bertrand Russell: Remembering a Public Intellectual for Our Time" by Henry A. Giroux.
New out this month is the first chapbook from literary magazine The Esthetic Apostle: Absences: A Sequence by John A. Griffin. Accompanied by collages by artist Martine Mooijenkind, the chapbook explores forms of loss. In “Relic,” the speaker notes: “It is November and a concussed fog hangs above the lake,” and this fog seems to settle over the rest of the pieces within the collection, somber and haunted by absences.
From the publisher: "Absences addresses the themes of loss of youth, loss of innocence, isolation, separation, exile, death, the absence of familiarity, affection, and above all the loss or absence of love. The sequence meditates on the natural world but finds little comfort there. There are no idyllic, romantic refuges from the self, and pathetic fallacies remain just that: instead of providing a balm to the sick heart, the dales of Arcady merely accentuate its angst. The poems find fitting motifs in poetic echoes and these are channeled into the poems' movement to harmonize their rhythms and oscillations and to achieve a kind of unsettling but restorative equipoise. The sequence resonates with allusions to classical mythology, Virginia Woolf, Gabriel Garcia Marquez, Julio Cortazar, Franz Kafka, Johann Georg Hamann, Paul Celan, and Bruno Schulz, and tries to weave its patchwork aesthetic by drawing on their disparate but unified themes. Ultimately, the sequence is a celebration of life, even if life's great peroration is death, and even if we all die the same death over and over again."
Visit the publisher’s website to pick up your copy.
"We are looking for experimental works of film or video that are 15 minutes or less and utilize moving images as a means to poetic expression, formal exploration, or abstract and open-ended narratives. Compelling, personal works that push the boundaries of cinematic convention will also be considered for publication."
For more information, see the Aquifer announcement.
[The Florida Review 42.1 2018 cover art: Dengke Chen, "Tank Man," digital illustration]