First place: Christa Romanosky [pictured], of Pittsburgh, PA, wins $1500 for "Every Shape That the Moon Makes." Her story will be published in Issue 96 of Glimmer Train Stories.
Second place: Adam Soto, native Chicagoan now living in Austin, TX, wins $500 for "The Box." His story will also be published in an upcoming issue, increasing his prize to $700.
Third place: Katy E. Ellis, of Seattle, WA, wins $300 for "Night Watch."
A PDF of the Top 25 winners can be found here.
Deadline coming up! Family Matters: April 30. Glimmer Train hosts this competition twice a year, and first place receives $1500 plus publication in the journal. It's open to all writers for stories about families of all configurations. Most submissions to this category run 1200-5000 words, but can go up to 12,000. Click here for complete guidelines.
Clive Barker, a contemporary of author Neil Gaiman, first rose to fame in the eighties, with the Books of Blood. At the time, Stephen King called Barker "the future of horror"; a prophecy that proved true, as Barker's talent easily translated across major films (Hellraiser, Candyman, Gods and Monsters) fine art and more fiction, with the bestselling Abarat series.
Now an elusive figure who makes few public appearances, Barker is baring his imagination for Zymbol readers, and offering some lucky Kickstarter patrons autographed prints, reproduced directly from the pages of his bedside notebook.
Other rewards on offer include rare autographed books and Zymbol Magazine subscriptions. The Kickstarter is underway now.
McClintick says BPL "started on a whim, but as we've gotten more engaged with the work, we really see it as a chance to help writers and artists get more visibility online." Like many start-up publications, there's no paycheck for those involved, but nor does the publication ask for payment. "All our work is voluntary and we see it as community service," comment McClintick, "We love having the chance to share the work of others and give readers the chance to find more work like it. This is why our contributor's bios contain links to other work they've done or are doing. We want readers to read more and discover more; our magazine is just a starting point for them."
Some featured contributors to the first two issues include Emma DeMilta, Glen Armstrong, Karen J. Weyant, Luke Thurogood, Rob Cook, Robin Wyatt Dunn, Patty Somlo, John Colasacco, who has a book coming out this May through CCM Press, and Howie Good, whose Fugitive Pieces proceeds will be donated to charity.
And the name – why The Birds We Piled Loosely? The answer reveals a whimsical side: "We liked birds! And besides, the great danes piled loosely would just sound silly," McClintick jokes. "In reality," he says, "we came up with a shortlist of several different names and passed them around to friends and settled on the name people liked the most." The result is indeed intriguing and unique.
In the future for BPL, the editors want to look for ways to incorporate video and audio, consider print options and different website designs, and feature a sample of an author's newly released book. Already, issue three will feature poems from Rob Cook's new book Asking My Liver for Forgiveness.
For submissions, the editors tell writers to submit "text pieces" instead of any one genre because they don't want to discourage people from submitting in any medium or style of writing. As for art, they're really open to anything there as well. Letson's background and career is in visual design, while McClintick's is in writing and editing, so they complement each other in the type of work they're looking for.
McClintick stresses to writers: "Understand that we won't know your name or publication history when we review the piece. We've rejected writers claiming they had over a 100 publications and accepted writers who have never been published. We'll take a look at any type of writing and judge it on its merit alone. Name dropping publications when you submit your piece doesn't impress us."
McClintick and Letson offer this final word: "We really believe in the work we're doing and in our contributors! We want to thank them again. This magazine is really for our contributors and readers, and we can only hope that when someone opens the magazine that they can see all of this in our work."
The March 2015 Inkslinger Award winners are Michael Deagler for his story "Fishtown, Down," and photography by Justin Hamm. Previous winners can be found here with links to their winning works.
Buffalo Almanack has announced they are open for submissions for their first themed issue: "Where Thou Art." The editors are expanding submissions to include creative non-fiction in addition to short stories and visual art. "Everybody on the planet is eligible," say the editors, "no entry cost is required, and you have plenty of time to prepare - subs will remain open from March to November of 2015." Specific guidelines can be found on the Buffalo Almanack website as well as in the newest issue (pages 61-62).
GreenPrints "The Weeder's Digest" celebrates 25 continuous years of publishing with its 101 issue of spring 2015. GreenPrints was the alternative path Pat Stone, Garden Editor, and Susan Sides, Gardener, took when Mother Earth News came under new ownership and ended their positions with the publication. Over the next twenty years, GreenPrints became a "family run" publication, with Pat and his wife Becky and their four children all participating in the production.
Today, GreenPrints continues to fill a unique niche in both the literary and gardening worlds. Only GreenPrints magazine "shares the human side" of gardening through its content: "the joy, humor, frustrations, and heart in fine prose and fine art." GreenPrints also publishes a poem per issue and contains some of the best illustrations throughout as I have ever viewed in a literary journal, in addition to seasonally gorgeous cover art on each issue. Continuing to cross the genres of gardening magazine with literary journal, GreenPrints also features ads for bulbs, seeds, natural pest repellants, herbs, and much more to support the gardening community.
To see some of the illustrations as well as sample a story from the most recent issue, visit GreenPrints here.
The name Brain of Forgetting, McCarthy tells NewPages, "is drawn from the Irish legend of Cenn Fáelad, who lost his 'brain of forgetting' when his skull was split open by a sword-blow in battle. Cenn Fáelad developed a photographic memory for historical and legal information, which he wrote out in verse and prose on tablets. The journal honours his legacy by providing a forum for work that engages with archaeology, history, and memory, while recognising that pure, neutral historical fact does not exist in itself: the human (mis)understanding of history is not only susceptible to forgetting, but a natural tendency to impose a narrative structure on the past and invest it with meanings determined by the present."
Based in Cork, Ireland, the journal brings together the intellects of archaeological researcher and poet Bernadette McCarthy and photographer and art historian Tom Jordan. Unable to discover a literary journal that bridged the gap between academic research and creative output, McCarthy set up the journal in September 2014, advertising a call for submissions on the theme of "Stones." She attended an exhibition of her friend Tom Jordan's photography, which focused in particular on recording built heritage, and asked him to come on board as editor of visual art. This issue is now available here to purchase as well as for free download from the site.
In starting a new publication, McCarthy tells NewPages, "We hope to raise more awareness of the importance of protecting our past heritage, and how the past is not dead, but can help us reach a deeper level in our own creative work, and understand our present reality in a more complex way. The past isn't black-and-white, and there is no one narrative of what history entails; this is a central message of Brain of Forgetting. The process of 'digging' into the past and uncovering new meaning is vital to individual and collective social identity, and Brain of Forgetting hopes to address this need by negotiating the boundaries between past and present, creative imagination and historic record, and lyricism and bare-boned data."
Readers of Brain of Forgetting will find creative work that relates to the past, but, as McCarthy says, "this work must have a contemporary edge." A variety of writers and artists from all over the world were published in Issue One, many of whom had quite diverse backgrounds. Some were professional archaeologists, anthropologists, medievalists, and geologists; others were professional writers and artists who find the past to be a fruitful source of inspiration. "All work published was chosen not simply because it related to the past," McCarthy stresses, "but on the basis of its quality and originality—subjective indeed, but we try our best!"
The editors are excited about the upcoming Issue Two, which will feature new poetry by Afric MacGlinchey, as well as new translations by Rosalin Blue of the poetry of August Stramm, who died in World War I.
Looking to the future, in an ideal issue of Brain of Forgetting, Bernadette McCarthy would love to include work from one of her favorite archaeologist-poets, Paddy Bushe, and perhaps creative non-fiction by the likes of Christine Finn, author of Past Poetic: Archaeology in the Poetry of W.B. Yeats and Seamus Heaney. In general, however, she is interested in original work from anyone that engages with the past, regardless of whether s/he is an established or emerging writer.
Tom Jordan would love to publish a previously undiscovered essay by Hubert Butler, author of Ten Thousand Saints, who bridged the gap between history and imagination in his writings. He is also a fan of Irish artist Robert Gibbings and cosmologist/author Carl Sagan, but in general he welcomes anything well-done that relates to the chosen theme of the journal.
For now, McCarthy says, "Surviving is our main goal at present, and perhaps gathering enough funding together to be able to pay a local company to do the printing for us - though we are grateful for the existence of online independent publishing platforms. We would also like to try and reach a wider readership, and publish an even more diverse range of writers. So far, most of the work submitted has emanated from Ireland, the UK, Canada and the US. It would be great to feature more work from the wider Anglophone world e.g. parts of Africa, Asia, and Australasia where English is spoken."
Submissions for Issue Two, based around the theme of "Poppies," are open until the end of March. Up to four poems or two pieces of flash fiction (900 words max.) can be submitted, while submissions of creative non-fiction (one piece, 1200 words max), as well as photography and other artwork are also welcome. While the journal is primarily English-language, work in other languages can be considered if accompanied by English translation suitable for publication, while translations of pre-1500 English-language work are gladly considered. Simultaneous submissions are accepted, as long as the contributor informs the journal if a piece is published elsewhere. All work submitted must be previously unpublished in print or online. See Brain of Forgetting's website for more information.
The editors welcome applications representing each of the content areas below:
• Origins of the novel
• Non-Western novels
• Eighteenth-century novels
• Nineteenth-century novels
• Twentieth-century novels
• Contemporary novels
• Interdisciplinary and theoretical approaches to the novel
• Genre Fiction (individual editors needed for: YA literature, Science Fiction, Graphic Novels, etc.)
Responsibilities: Affiliate editors will support the editorial staff of Studies in the Novel by commissioning and vetting teaching content (including blog posts and short "teachable moments" for our archive) and by identifying appropriate links and other materials for inclusion on the journal website.
Please send a cv and 1-page cover letter to studiesinthenovel-at-unt.edu.
Review of applications will begin April 30 and continue until positions are filled.