I just wanted to let everyone know that I am considering submissions for a special issue
of Fairy Tale Review right now. The Red Issue, the sixth issue of the journal, will include
work based on those tales that belong to the Little Red Riding Hood variant. (So I'm
considering only manuscripts that somehow relate to that tale type.) If you are familiar
with the journal, you will know that the term 'based on' is very open-ended. I'm
interested in manuscripts that work from LRRH elliptically or directly; formally or via
motif; and so on. More details can be found at http://fairytalereview.com/contact.html.
I'm likely to extend the reading period slightly. The Red Issue will be in print in Fall 2010
(so work must remain previously unpublished by that time, i.e. if it is to appear in a book
before then I can't consider it--I know, I have a very long production period, sorry). Past
contributors to Fairy Tale Review include Marina Warner, Kim Addonizio, Arielle
Greenberg, Donna Tartt, Stacey Richter, Lydia Millet, Sarah Hannah, Kellie Wells, and
many others. Work from the journal has been included in Best New American Writing,
Best American Fantasy, The Year's Best Science Fiction and Fantasy, and listed as notable
in Best American Short Stories.

Thanks for thinking of FTR as a possible home for your newest poetry or prose.

CFW

http://upstage.org.nz/blog/?page_id=210

class in acoustic poetry


april 2009 to march 2010

the mediation of acoustic poetry has a long tradition in the history of
the schule für dichtung ('vienna school of poetry'), or sfd. in the
course of its 15-year existence, authors, sound poets and sound artists
such as ernst jandl, gerhard rühm, henri chopin, sainkho namtchylak and
curd duca -- to name but a few -- have all taught at the school, giving
instruction in the theory and practice of a wide variety of directions
and subgenres of acoustic poetry.

now, in 2009/10, the sfd is offering its first-ever class in acoustic
poetry, in the form of regular workshops that explore the various
possibilities of making literary combinations of language, voice,
writing and sound. the workshops will provide a thorough grounding in
the practice, history and theory of acoustic poetry, and also
investigate multimedia approaches, the basis of text-sound composition,
live performance and recording and studio technology.

together with the class teachers, the participants will not only design
a performance evening but, as a conclusion of the five-part series of
workshops, also produce a cd in a professional recording studio.
renowned authors and sound artists will be invited to join the programme
as guest speakers.
the locations, computers, audio software and audio equipment will be
provided by the sfd.


class teachers:


christoph amann

* 1961
after visits to southern england and instrumental studies at the
conservatory of feldkirch, he completed the first part of his medical
studies at the university of vienna, before studying computer music at
the university of music and the performing arts in vienna. involvement
in various cultural initiatives (incl. the co-founding of the music
venue 'flex' and the freien radios wien ('free radio of vienna'). since
1992 he has been responsible for the sound and image archive, as well as
sound engineering, at the literaturhaus in vienna. since 1995 he has run
his own sound studio in the 7th district of vienna.
www.amannstudios.com


juergen berlakovich

* 1970
author and sound artist. studies of german philology, philosophy and
theatre science. performances, texts, music (also for films), radio
plays, sound essays and audio caricatures. employs language, among other
things, as the starting point for electronically produced compositions
and improvisations. co-initiator of the music and literature performance
project "sergej mohntau" (www.sergejmohntau.net). member of the
"gemüseorchesters" (www.vegetableorchestra.org).
www.berlakovich.org


mia legenstein

* 1979
study of music science. certificate of the sae institute: electronic
music producer.
member of the sound poetry duo "legéNi" (installations, performances,
sound poetry theatre); co-founder of a sound artist collective (sound
studio in "k48", 1070 vienna): electronic sound installations,
performances, appearances as live artist and dj in austria and abroad;
training: phonetics, singing, performance, courses at the sfd and on
various instruments.
www.myspace.com/mialegenstein


jörg piringer

* 1974
works as a freelance artist and academic in the fields of electronic
music, radio art, sound poetry, visual poetry, interactive collaborative
systems, online communities, performance, sound installations, computer
games, video art and poetic software. member of the "gemüseorchesters"
(www.vegetableorchestra.org)
joerg.piringer.net
www.iftaf.org institut für transakustische forschung ('institute for
transacoustic research')



dates:

5 blocks of approx 18 hours of teaching, each lasting from thursday
evening to sunday afternoon

in addition: private tutorials


1st block:
30. 4. - 3.5.2009

2nd block:
11.6. - (13.)14.6.09

3rd block:
3.9. - 6.9.09

4th block:
19. - 22.11.09

5th block:
18.2. - 21.2.2010 (+ final presentation)

march 2010: cd presentation

(stand: march 2009)

registration fee: 500,- €

limited no. of places available

teaching language: german (english)

registration form: online soon

http://sfd.at/akademie/2009/klassen/akustische_poesie/


--
http://joerg.piringer.net
http://www.iftaf.org
http://www.vegetableorchestra.org

Fairy Tale Review, The Red Issue

CALL FOR SUBMISSIONS
"Little Red Riding Hood was my first love. I felt that if I could have
married Little Red Riding Hood, I should have known perfect bliss."
--Charles Dickens

Ah, that famous quote by Charles Dickens! So wrong, and yet so right.
The Red Issue will be Fairy Tale Review's sixth annual issue and, as the
color suggests, will be as as devoted to Little Red Riding Hood as was dear
Mr. Dickens. This is will be the journal’s first truly themed issue and we
welcome your newest and brightest writing to it. As usual we do not offer
further guidelines for your submissions or word count limits. The best way
to get a sense of what is possible is to look at a back issue. We are open
to all forms, all styles, all manner of thinking.

http://www.fairytalereview.com/contact.html

Clarion Science Fiction & Fantasy Writers' Workshop
@ UC San Diego

June 28 – August 8, 2009
Applications accepted January 2 – March 1

Clarion is an intensive six-week summer program focused on the
fundamentals particular to the writing of speculative fiction. Since
its inception in 1968, Clarion has been considered a premier proving
and training ground for aspiring writers of science fiction, fantasy,
and horror. Instructors are among the most respected writers and
editors working in the field today. Over one third of our graduates
have been published and many have gone on to critical acclaim.

Clarion is a short story workshop. Participants are selected from
applicants who have the potential for highly successful writing
careers and who submit writing samples with an application. Adults of
all backgrounds are encouraged to apply.

Scholarships are available. Limit 18-20 participants.

2009 WRITERS IN RESIDENCE:

Holly Black
The Spiderwick Chronicles

Larissa Lai
When Fox is a Thousand

Robert Crais
Chasing Darkness

Kim Stanley Robinson
The Years of Rice and Salt

Elizabeth Hand
Generation Loss

Paul Park
A Princess of Roumania

For more details, visit http://clarion.ucsd.edu

enter!

The National Poetry Series (NPS) and mtvU, MTV’s 24-hour college network,
are pleased to announce a first-of-its kind opportunity. In 2008, NPS will team up
with mtvU—the definitive college network for students at universities across the
country—as they begin an earnest promotion of poetry to the campus audience.
For the first time, one of NPS’ five annual titles will be designated as a booklength
manuscript written by a college student. The 2008 winning book chosen to
be published by HarperCollins also will be the recipient of The National Poetry
Series mtvU Prize. The winning student will have the opportunity to interview
the poet / judge representing HarperCollins and mtvU in 2008, Pulitzer Prizewinner
Yusef Komunyakaa, for an episode of the mtvU series “My Shot With….”
“All of us involved in the publication of poetry like to talk about ‘expanding the
audience for poetry,’ and ‘reaching the next generation,’” said Daniel Halpern,
Founder and Director of The National Poetry Series. “Mostly it’s been just that:
talking about it. This union between The National Poetry Series and mtvU
provides the chance to do both – by giving college students the opportunity to
publish a book with a large trade publisher, and offering their peers a volume of
poetry written by one of their own.”
“We know the Pulitzer Prize-winning poets of tomorrow are in our audience
today,” said Ross Martin, Head of Programming, mtvU, “and we’re extremely
proud to partner with Yusef Komunyakaa and the prestigious National Poetry
Series to help catapult one outstanding young poet from the classroom to
national acclaim.”
Established in 1978, The National Poetry Series is a literary awards program
dedicated to bringing meaningful poetry to publication. To date, 140 books have
been sponsored by NPS, in collaboration with the accomplished poets who have
served as judges and a distinguished roster of trade, university, and small press
publishers.
mtvU is MTV’s on-air, online and on campus college network – for and by college
students. The network is broadcast to nearly 7.5 million students on more than
750 campuses. As a national platform for the best student-created work, mtvU
offers students numerous opportunities to jump-start their careers and places a
focus on issues they care about most – including stopping the genocide in

The
National
Poetry
Series

Darfur, great emerging music, political and social activism, landing their dream
job and more. mtvU is dedicated to promoting the arts on campus and amplifying
college students’ cultural impact, maintaining partnerships with the Fulbright
program, New York Times, National Academy of Arts and Sciences, Tribeca Film
Festival and many others as part of this effort.
Submissions for The National Poetry Series mtvU Prize will be accepted
beginning later this winter as outlined in the NPS guidelines posted on
www.nationalpoetryseries.org. The winning manuscript will be published in 2008
as part of the NPS’ 30th anniversary series.
For more information and guidelines, please contact
Stephanie Stio, The National Poetry Series,
57 Mountain Avenue, Princeton, NJ 08540
Phone: 609.430.0999 Fax: 609.430.9933
For additional information about mtvU, please contact
Jason Rzepka, head of communications, mtvU
Phone: 212.654.7198 E-mail: jason.rzepka@mtvstaff.com

fun syllabus by Lisa Jarnot (check out her poems)

http://www.angelfire.com/poetry/lisajarnot/patternpoetry.html


Pattern Poetry
Spring 2009

Suggested Readings:

An Anthology of Concrete Poetry. Ed. Emmett Williams, Something Else Press, 1967.

Pattern Poetry. Ed. Dick Higgins.

Concrete Poetry: A World View. Ed. Mary Ellen Solt.

Jan 18 Phonetic Patterns: transcribe one of your poems using International Phonetic Alphabet, color code the patterns and create a visual work out of the result (a painting, rug, sweater, etc. Read excerpts of Mary Carruthers The Craft of Thought: Meditation, Rhetoric, and the Making of Images, 400-1200.

Jan 25 Simple Scaffolds: Acrostics, Telestics, and Mesostics.

Feb 1 Early Western Pattern Poetry: Greek and English Eggs and Altars, including George Herbert’s The Temple. Assignment: Compose a poem sequence that is a house or a sanctuary.

Feb 8 Viewing Day: Visit to the Metropolitan Museum: Egyptian Hieroglyphs, Cuneiform, Islamic Rugs. Make your own language. Take the pattern of a Persian rug and use it as the formula for a poem. Suggested reading: The Chinese Written Character as a Medium for Poetry by Ernest Fenollosa.

Feb 15 Eastern Pattern Poetry: the Wife-of-a-Chinese-Court-Official-Composes-a-40,000-Direction-Invective-Poem. Write a pattern poem/maze that can be read in multiple directions. (See also Raymond Queneau's “One Hundred Thousand Billion Sonnets”).

Feb 22 Rebuses, magic spells, and lapidary inscriptions. Read excerpts of the Greek Anthology.

Mar 1 Mathematical Poems: An Overview of Oulipo. The 20 Consonant Poem.

Mar 8 Musical Patterns: The Cancrizan. Compose a cancrizan and perform it w/ voice and/or instruments.

Mar 15 Ian Hamilton Finlay’s Poor. Old. Tired. Horse., Little Sparta.

Mar 22 Works by B. P Nichol, Hannah Wiener, Ward Tietz, and Bill Luoma’s Swoon Rocket and other poems.

Sonoma State University's award-winning literary magazine, ZAUM, is looking for student artists to submit their work for our upcoming thirteenth issue. ZAUM is a very unique magazine in that it is produced solely by SSU students. Not only is ZAUM a vehicle for Sonoma State students' artistic expression, the magazine publishes work from students around the world! By combining the creative dynamic of students in the community with that of national and international students, ZAUM consistently presents diverse and unique work in an accessible medium.

ZAUM is named for the symbolic language created by Russian Futurist poets. Its meaning—that which exists above and beyond rational thought—represents the standard of excellence to which we aspire. Therefore, we seek to publish the works of student artists who are eager to push the limits of their art, and take a few risks with us!

Please urge any Undergraduate or Graduate students who are interested to send copies of their prose, poetry, or visual art (to include black & white photography) to be considered for our publication. Feel free to check out our website at www.zaumpress.net for further details. All selections to be considered for publication in ZAUM 13 must be received no later that November 15, 2008.

Camille Martin, collages

http://camillemartin.ca/index.php?pr=Collages_8

job / course at cal

Recruiting Student Teachers for June Jordan's Poetry for the People

The Poetry for the People Program (P4P) at UC Berkeley, founded by the
late poet/essayist June Jordan, is in its seventeenth year. June Jordan
founded the program with a vision of artistic and personal empowerment for
students.

Our an annual large class is offered in the Spring semester. The program
has two main components:

1.teaching the work of poets of color in their historical political
contexts, both in and outside the US

2.workshopping student poems weekly, according to a rigorous set of
guidelines developed by June, herself.

The course is taught by Student Teacher Poets or STPs. This group is
generally made up mostly of undergraduates, but has often included some
graduates, graduate students and non-students. The majority of STPs
have taken the large P4P class, but others begin with an interest in
teaching and go directly to the STP class. The STPs take a practicum
class that begins in the Fall and continues throughout the year.

In addition to leading or co-leading a section of 7-12 students in the
Spring, the STPs are responsible for choosing the majority of the
readings for the large Spring class, developing the bulk of the
lectures, and coordinating the final student recital, editing an
anthology, and doing outreach visits to schools and community centers
throughout the year. STPs also workshop each other's poetry.

The director facilitates the STP group throughout the year, and
supervises their work, and the program coordinator takes care of program
logistics. The director also sets the tone of the large class, delivers
several lectures, and supports the STPs in their teaching and
leadership.

The political and aesthetic groundings of the course come from June
Jordan's own work--reflecting the tradition of women writers of color
needing to bear witness to oppression, to speak what has been silenced,
to speak truth to power, and to offer alternative visions of what the
world can be. In this tradition, the personal is political, students
are encouraged to give voice in their poetry to the most painful and
difficult places in their lives, and to speak about the most difficult
challenges in the world around us.

Due to the personally, politically, and academically intense nature of
the course, the experience of P4P is powerful for all, and can be
consuming for some, particularly younger students who are finding their
poetic voice for the first time. Among the STP group, every year is
different, depending on the personalities involved, but there is a
tradition of healthy (and sometimes unhealthy!) conflict, as the group
of STPs endeavor to take political and artistic leadership in the
course. STPs have the opportunity for profound personal growth as they
confront the power dynamics, leadership challenges and significant
responsibilities of teaching.

P4P director Aya de Leon is recruiting additional STPs. These
individuals may be undergraduate or graduate students at other campuses,
or anyone with a strong commitment to writing and teaching poetry.

The STP course meets Tuesdays and Thursdays from 4-6PM throughout the
year, and the P4P "big class" meets from 3-7PM in the Spring. STPs need
to be available for all three classes, for registered students, this is
a 12-unit load over two semesters.
STUDENT TEACHING TIME COMMITMENT:

The STP course meets Tuesdays and Thursdays from 4-6PM throughout the
year, and the P4P "big class" meets from 3-7PM in the Spring. STPs need
to be available for all three classes, plus homework and occasional
outside meetings. For registered students, this is a 12-unit load over
two semesters.

These positions are not paid, but we can offer college credit to everyone.

How to get college credit for these classes:

*enroll via UC Berkeley in the courses (both undergraduate & grad programs)

*cross register from Mills College (both undergraduate & MFA)

*enroll via Berkeley City College (open to all & affordable!)

*enroll via UCB extension (open to all; a bit more costly)

*Student teach as an independent study at your college or university (grad
or undergrad)

*Student teach as an independent study or field study placement with your
low residency MFA program

All are invited to apply!

For info contact P4P Director Aya de Leon: adeleon@berkeley. edu

P4P Program History

After a decade of teaching at the university level and after a few years
of joining the faculty at UC Berkeley, Professor June Jordan, one of the
most published African American writers in history, founded, designed,
cultivated and directed an unprecedented academic course and artistic
movement: Poetry for the People.

Professor Jordan wrote, however, that "I did not wake up one morning
ablaze with a coherent vision of Poetry for the People! The natural
intermingling of my ideas and my observations as an educator, a poet, and
the African-American daughter of poorly documented immigrants did not lead
me to any limiting ideological perspectives or resolve. Poetry for the
People is the arduous and happy outcome of practical, day-by-day,
classroom failure and success."

In 1989, June Jordan began teaching in the African American Studies and
Women's Studies Departments. She soon undertook the presentation of
African American Poetry and Contemporary Women's Poetry. With both
courses, she ensured that student writings occupied equal space and time,
along with established poets, such as James Weldon Johnson or Adrienne
Rich.
Eventually, she decided to offer something called "Poetry for the People."
So she raised funds from the African American Studies Department, the Dean
of Interdisciplinary Studies, and the Department of English.

Her dream and vision was realized in 1991 when Professor Jordan officially
established Poetry for the People. During its first semester, and every
semester thereafter, the course attracted students from Freshmen to
graduate students in their last year at Boalt Law School, men, women,
African Americans, Asian Americans, Latino Americans, Arab Americans,
Anglo Americans, gay, lesbian, straight, abled, disabled who could take
this course in poetry without any prior writing experience.

June Jordan crafted Poetry for the People with three guiding principles in
mind:

1.That students will not take themselves seriously unless we who teach
them, honor and respect them in every practical way that we can.

2.That words can change the world and save our lives.

3.That poetry is the highest art and the most exacting service devoted to
our most serious, and our most imaginative, deployment of verbs and nouns
on behalf of whatever and whoever we cherish.

Professor Jordan's vision for the reading and writing of poetry stands out
from other university poetry courses. In an interview with the Daily
Californian on November 19, 1998, Professor Jordan stated that the goal of
Poetry for the People "is to make audible the inaudible, and visible the
invisible."

Then, after the success of the third semester of the program, a core of
young poets wanted to make P4P a way of life. As a result, Professor
Jordan decided to try and institute a course called "The Teaching and
Writing of Poetry." Interested students would work closely with her and
then they, in turn, would become teachers of other students. This practice
continues today as undergraduates and graduate students are trained by the
director to facilitate groups, lecture on various topics, and assume
positions of leadership.

African American Studies 158A (fall) and 158B (spring) serve as this
teaching practicum for STPs in the process of preparing to student teach
the main introductory spring class, African American Studies 156AC, known
as "The Big Class." The students in these courses conduct extensive
research into the poetic traditions under consideration for the Big Class.
Each student is required to give an in-class presentation on an assigned
poetic tradition, in addition to an intensive examination of pedagogical
issues. Much of the time in the spring is spent discussing teaching
strategies, exploring solutions to pedagogical issues, and coordinating
projects. The STPs also form and facilitate a poetry-writing group under
the Director's leadership and complete all the assignments the students in
the general class are given, in addition to certain specific exercises in
poetic craftsmanship. This group of STPs also provides personnel for the
various outreach programs and is encouraged to perform at community events
and readings in the Bay Area.

The success of P4P is evidenced by the dozens of poetry programs across
the country that are led by former P4P students and whose designs are
based on the program. In 1995, after Professor Jordan and several of her
students published June Jordan's Poetry for the People: A Revolutionary
Blueprint through Routledge Press, hundreds of organizations throughout
the country have adopted this blueprint not only as a reference but a
guiding principle in their own poetry workshops and programs. Moreover,
numerous former P4P students have been anthologized, published, and
celebrated with prizes.

Thus, from its humble beginnings of around 15-20 students in 1991, to its
height of over 130 student enrollment, the once-tenuous experiment of
Poetry for the People has emerged a cultural institution on the UC
Berkeley campus that has engendered dialogue and created connections
across every conceivable line.

Professor Jordan has said, "Poetry has been falsely viewed as a province
for privileged folks and for the extremely gifted. [But] poetry derives
from an oral tradition throughout the world. It comes from the people and
needs to be given back to the people."

Today, Poetry for the People is a fully accredited, three course sequence
of classes wherein students present their work in an on-campus public
poetry reading every semester and self-produce and then publish a
professional anthology of their poems. In keeping with the university's
goal of public education, Professor June Jordan expanded this program to
many different Bay Area locations: Berkeley High School, Dublin Women's
Prison, Glide Memorial Church, Mission Cultural Center, and Yerba Buena
Center for the Arts.

Every poetry reading she helped organize was a standing room only affair —
in mammoth campus spaces such as the Life Valley Science Building Lecture
Halls, Lewis Hall, and Wheeler Auditorium.

In 2001, Professor June Jordan went on leave. However, given the student
demand for the course and the popularity of the program, she was asked to
name a successor. Selected by Professor Jordan, Junichi P. Semitsu
directed the program until 2005. In 2005-06 P4P alum, Maiana Minahal was
director. In fall 2006, the African American Studies department appointed
community artist and activist Aya de Leon as director, and her appointment
continues into its third year.

Aya de Leon continues in Jordan's tradition of reaching beyond university
walls, developing programming at Berkeley High, B-Tech (Berkeley High's
alternative/ continuation school), Oakland Unified, Berkeley City College,
Epic Arts, La Pena Cultural Center, and Richmond's Leadership Public
School, as well as reaching out to Mills College, SF State, Foothill
College, and other Bay Area schools to recruit students.

The Program has continued to bring countless "hot shot poets" to campus
for readings to P4P students and the general public: Adrienne Rich,
Ntozake Shange, Jimmy Santiago Baca, Joy Harjo, Sandra Cisneros, Juan
Felipe Herrera, Bei Dao, Janice Mirikitani, Ruth Forman (a former P4P
student), Marilyn Chin, Haas Mroue, Martin Espada, Cornelius Eady, Lorna
Dee Cervantes, E. Ethelbert Miller, Sekou Sundiata, Kevin Young, Dennis
Kim, Leroy Quintana, Li-Young Lee, Naomi Shihab Nye, Francisco Alarcon,
Sara Miles, Donna Masini, Luis Rodriguez, Tyehimba Jess, Mohja Khaf — to
name a few.

The current ever-evolving syllabus continues to extend to new cultural
areas for further, broadening research and eventual curricular inclusion.
Designed to constitute a one-semester crash course of world literacy in
poems, the syllabus typically focuses on three distinct American cultures,
which often rotate year after year. Our Spring 2008 semester focused on
the poetry of African Americans, Arab and Arab Americans, Latina/os,
Xicana/os, and the intersecting trajectories of these three groups in the
United States and the Americas.

Professor Jordan passed away in June 2002. Thanks to her vision and the
commitments of the African American Studies Department, UC Berkeley's
Dean's office, and the sustained efforts of subsequent directors and
student teachers to continue her legacy, the African American Studies
156AC course remains strong and alive. Indeed, the class continues to
build a legacy as one of the most visible, vibrant, and energetic
communities on the Berkeley campus, in continuing Dr. Martin Luther King's
wish of a beloved community.

Aya de Leon
Director, June Jordan's Poetry for the People
African American Studies Department
UC Berkeley

a relentlessly local FL publication, but one nevertheless...

CALL FOR POETRY SUBMISSIONS: FloriDaDa, A NEW FLORIDA-INSPIRED ANTHOLOGY
Deadline: Midnight, August 1, 2008.

FloriDaDa is seeking submissions to represent the current state of poetry in, and inspired by, Florida. We're seeking unusual or experimental poetry related to this subject.
We hope to publish FloriDaDa with Rock Press as a book-length paperback in the fall of 2008. Funds are quite limited for this project, so a waiver of permission fees would be appreciated. We intend for this to be the first volume in an occasional series of collections that will give respected poets a chance to lead the way for writers and readers involved with Florida as a creative crucible.
There will be four categories for submissions:
1. Natives (poets actually born here)
2. Transplants (poets who moved here)
3. Passing Through (visitors or people who once lived here who have written poetry about Florida)
4. Snow Bards (part-time residents)
Send up to 5 poems in a single word document to Floridada@gmail.com
Put your name and email address on every piece.
In the subject heading of the email, state the category you are submitting to, which means either Native, Transplant, Passing Through, or Snow Bards
In the body of the email, include a bio of no more than 100 words.
Please also sign the attached document and send it to:
Richard Ryal, P.O. Box 770925, Coral Springs, FL 33077-0925
In signing the attached document, you warrant that you are the sole owner of the rights granted and that your material does not infringe upon the copyrights or other rights of anyone. If you do not control these rights, we ask that you submit another piece to which you possess sole rights.



Laura McDermott and Richard Ryal
co-editors FloriDaDa Rock Press, Fall 2008

A Manifesto for your summer....

written by some friends of mine:

http://canopycanopycanopy.com/2/for_an_unoriginal_literature

Open Submissions for The Versus Anthology

Versus is a collection of works based on the theme of pitting
iconic characters or forces against one another (for example,
“Jesus VS Thor” or “Adolph Hitler VS Grendel”). Versus is edited
by Josh Woods and is set for release in the spring of 2009 by
Press 53 ( www.press53.com ). Versus already includes a great
host of writers, such as Pinckney Benedict, Michael Kimball,
Margaret McMullan, John McNally, Kyle Minor, Andrew Scott, Curtis
Smith, Susan Woodring, and many others, but we have held a few
spots open in order to give everyone interested the opportunity
to join this anthology, so here is that opportunity.

We’re looking mostly for short fiction of around 1,000-1,500
words, but Versus is open to longer works as well as poetry,
creative non-fiction, short screenplays, flash fiction, graphic
novel pages, and even hybrid genres. Submissions can be
previously published elsewhere as long as the writer has, or can
obtain, (re)publication rights. Simultaneous and multiple
submissions are allowed, but due to the volume of submissions, we
will be unable to communicate about individual manuscripts other
than to indicate that they are accepted or rejected. We will not
respond prior to the submission deadline.

The deadline for all submissions is June 1, 2008.

Please send submissions by email attachment in Microsoft Word
compatible format or as Adobe PDF to versusanthology(at)gmail.com

(replace (at) with @)

or submit by mail with SASE to:

Versus Anthology
Faner Hall 2390, MC 4503
SIU Carbondale
1000 Faner Hall
Carbondale, IL 62901

Cover letter is optional, but please include your name and email
address on each page of the manuscript. For these few remaining
spots in Versus, we are setting our focus on new, emerging, and
innovative writers. For further details on what a Versus piece
is, or even for the option of getting assigned a set of
characters for your Versus piece, please visit
www.myspace.com/versusanthology.

Do you love to weave words together?

Were you and/or one or both of your birth parents born in another country?

Do you live in the United States or Canada now?

Are you 13-19 years old?

http://www.mitaliperkins.com/teencontests.htm

If you answered yes to ALL of the questions above, YOU qualify to enter the 2008 Fire Escape Writing Contests! Submit an original, unpublished poem or story that reflects some of the joys and struggles of growing up between two cultures in America. The Fire Escape will only consider one poem and story per person, so send your best work. (If you like writing non-fiction, too, check out the Fire Escape's Write-a-Review Contest.)

Contests

Poetry (up to three poems)

Short Fiction (up to 800 words)

Prizes

First Prize: $40

Second Prize: $25

Third Prize: $10

How to submit an entry:

* Paste your poem or story into an e-mail message and send it to contests -at - mitaliperkins.com. I will not open attachments.

* Proofread thoroughly and keep your presentation simple. Entries with spelling, grammar or punctuation errors and funky characters/fonts may be disqualified without notice. (There were lots of these this year!) Do not include any clip art, images, or photos with your entry. Words only, please. Fiction longer than 1000 words will not be considered.

* Include your name, age, and e-mail address in your e-mail. Also include your countr(ies) of origin. You and/or ONE of your birth parents must have been born outside North America. If you were born in Puerto Rico and are now living in one of the states or Canadian provinces, you qualify.

* Current U.S. or Canadian residents only please, and previous winners are not eligible.

* To qualify, your entry must be received between September 1, 2007 and June 1, 2008.

REPEAT: you must be an immigrant or internationally adopted teen (or a teen with one immigrant parent) currently living in the United States or Canada.

NOTE: Failure to follow all of the contest guidelines will disqualify your entry.

Winning Poems and Stories will be published on the Fire Escape. Winners will be notified by June 30th. If you do not hear from us by June 30th, you can assume that your entry was NOT a winner. Prizes must be claimed by September 1, 2008. Please note that editorial or any other personal comments will not be provided for contest submissions. The Fire Escape reserves the right to award no prizes if no entry meets the judge's standards.

The Fire Escape seeks the following permissions from young authors: permission to publish your work on the web site, and permission to include your work in online archives after publication. Authors retain the copyright to their work. Once selected, winners must send their school information and a mailing address so that the Fire Escape can validate the entry and send the prize.

Fairy Tale Review is accepting submissions to its fifth issue, The Aquamarine Issue, from
April 15 through September 15, 2008. We welcome all previously unpublished fiction,
poetry, drama, non-fiction, etcetera, informed by the fairy-tale tradition.

Past contributors include Sarah Hannah (to whom our most recent issue, The Violet Issue is
dedicated), Aimee Bender, Donna Tartt, Mary Caponegro, Rikki Ducornet, Joyelle
McSweeney, Lydia Millet, Kim Addonizio, Lucy Corin, and Kiki Smith.

Please see our submission guidelinesfor
more details.

On Monday, May 5th, 2008 at the Medicine Show Theater on 52nd Street, NYC, Factory School requests your presence for a pre-Publication Book Party for Charles Bernstein and Ben Yarmolinsky's Blind Witness: Three American Operas, due out in August.


For more information about this event, please click here:
http://epc.buffalo.edu/authors/bernstein/blog/#04-23-08


For more information about Blind Witness, and to pre-order a copy, please click here:
http://factoryschool.org/pubs/blindwitness/



SPECIAL ANNOUNCEMENT – PLEASE HELP US CONTINUE OUR WORK


If you are unable to attend Monday's event, we hope you will join us online for an important announcement regarding the future of Factory School and its work in the community. We are planning a significant relaunch of our organization, its purpose and orientation. This change will be visible on our website on Monday, May 5th, when we will unveil a 2.0 upgrade to our site. To this end, we are seeking collaborators, projects, and support for our work.


Since 2000, Factory School has sponsored online galleries, an audio archive of poetry readings, as well as resources for teachers and teachers of writing--all this in addition to our books. Hundreds of thousands of visitors have made use of these materials. Since our books are our only source of income, we are pleading with the community to help us continue our work by purchasing one or more of our books. These purchases will allow us to continue to publish books while continuing to expand our organizational infrastructure.


While we will be making a more significant announcement on Monday, May 5th, here is a preview of what our priorities will be in the coming years:



CULTURAL CAPITAL GENERATING MACHINE


--Free University of New York Press: a new academic press without the university.
--Publication Club: social networking site allows younger writers to meet each other and develop editorial identity, social and real capital.
--Series based publishing: Developing projects for extant book series (Heretical Texts, PS3577, Public Intermedia, Southpaw Culture).
--Working collaboratively not as aesthetic judges, seeking alternatives to the social-subcultural engine that drives micro communities of taste.
--Development of books for use in courses, not the other way around.



KNOWLEDGE LAUNDERING


--"Community Handbook" resource development project: teaching materials, student-generated learning modules.
--Textbook recycling program.
--Reclaiming for public use educational content pilfered from the public domain by private corporations.



ACTION RESEARCH CONSULTATION SERVICE


--Community-based problem solving and future planning.
--Design studio and workshop.
--Curriculum and learning program development.
--Organizational feedback strategies, research methods and practice.



LEARNING STUDIOS AND POLICY LABORATORIES


--Interactive websites for all new Factory School books.
--Beginning research and planning phases for independent urban college.
--Think tank and policy-paper laboratory to counter-act regressive trends in American politics and culture.



PLEASE CONSIDER DONATING, OR PURCHASING SOME BOOKS


Please click on the link below to order a book or make a donation using Paypal. If you would rather send us money, please send an email to INFO "@" FACTORYSCHOOL ORG to make arrangements.


http://factoryschool.org/pubs/order.html

*Please post, forward, blog, etc.*

The deadline for regular and scholarship applications to the 2008 Napa Valley Writers' Conference is May 22 (not a postmark deadline!). This year's conference begins Sunday, July 27 and ends Friday, August 1. Faculty in fiction are Ron Carlson, Lan Samantha Chang, Ehud Havazalet, and Ann Packer; in poetry, Mark Doty, Nick Flynn, Brenda Hillman, and Claudia Rankine. Novelist Paul Lisicky is a special guest.

Scholarships are based on merit and need and are intended to bring to the conference serious and talented writers who would not otherwise be able to attend. Most scholarships are partial, defraying the cost of tuition; two full scholarships, the Richard Lemon Scholarship in poetry and the Rosselli-DeFilippis Scholarship in Fiction, are awarded to writers of color. Full details are available on our website, http://www.napawritersconf.org/, where you can also learn about our workshops, our community housing program and our faculty.

My Paper, My Land
A postcard show will be held to coincide with the IAPMA Congress in
Burnie, Tasmania. Works should reflect where you come from and contain
at least 80% paper. The size should be around 10 x 15 cm and works
should be sent through the mail, preferably with a postage stamp and
postmark to Gail Stiffe, 11 Keltie Street Glen Iris, Victoria 3146,
Australia.
The works will be exhibited in Creative Paper's Gallery for one month
including the congress time and will be for sale for $A20 each
unframed. The funds raised will be shared equally between Papermakers
of Victoria, Creative Paper, the IAPMA support fund and the Papermaking
Village in the Philippines and unsold works will remain the property of
Creative Paper Tasmania. All works will be documented on a website to
be announced. Works can be sent any time between now and 1 March 2009,
there is no limit to the number of entries anyone can send. Please
indicate on your card if you do NOT wish it to be displayed on the
website. Contact info@gailstiffe.info for more information.
www.papergail.blogspot.com
www.gailstiffe.info

http://www.reed.edu/news_center/multimedia/2007-08/ginsbergreadings1.28.08.html