Category Archives: Writing, Revising, Blogging

Online Drop-In Writing Workshop Noon Tomorrow

Treat yourself to an invigorating hour of writing.
Drop in from 12:00-1:00pm Eastern this and EVERY Thursday for a weekly low-stress Writing Workshop via Zoom.
The theme this week is: DARKNESS
Come when you can, stay as long as you are able.

A prompt suitable for writers of prose and poetry will be offered at the beginning of the hour and will remain available on screen for the duration.

This workshop meets EVERY WEEK. Follow this link for a full listing of workshops and weekly theme: Online Writing Workshops

A suggested goodwill donation of $10.00 through Venmo (@Lisa-Hase-Jackson), PayPal or Zelle (lisahasejackson@gmail.com) or by check (email me for address) helps greatly.

Meeting ID: 512 194 9100
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Meeting ID: 512 194 9100

Find your local number: https://us02web.zoom.us/u/kd0vsMhSjy

where the light sneaks in by Mike Jurkovic

The psychic took my personal check and I
quickly questioned all her projections.
Surely she knew my grifter past before predicting
Ten weeks on The Times Top Ten,
Amazon Prime’s Big Pick.

Have you read my stuff
it’s freaking depressing I said.
A curt evaluation I’ll concede but
I don’t see stars anymore
just bullet holes where the light sneaks in.

We need your truth she said
and I thought: Wow!
What a blurb that would make.
Let Kirkus charge me now!

This country ain’t piss she said
lending credence to my last submissions,
heft to my whole oeuvre.
Can I quote ya I asked
w/o grimace, my standard scowl of the day.
Twenty six ninety nine she said
w/o fanfare or delight.

Mike Jurkovic is a 2016 Pushcart nominee and his latest book is  AmericanMental, (Luchador Press 2020). His CD reviews appear in All About Jazz,.  He is the Tuesday night host of Jazz Sanctuary, WOOC 105.3 FM, Troy, NY.

Virtual Writing Workshop 7:00pm Tuesday, January 5

Hello Writers!
Every Tuesday beginning January 5 from 7:00 to 8:00 PM Eastern and Thursday at Noon Eastern, log on for a virtual write-in. Come when you can, stay as long as you are able.
A prompt will be offered at the beginning of the workshop and will remain on screen for the entire hour. All prompts and exercises are suitable for any genre of creative writing. Whatever can be done with poetry can be done in prose (to great effect).
Our theme this week: January and New Beginnings
A suggested goodwill donation of $10.00 helps greatly and can be remitted through PayPal or Zelle (lisahasejackson@gmail.com), Venmo (@Lisa-Hase-Jackson), or by check (contact me for address).
Join Zoom Meeting
https://us02web.zoom.us/j/5121949100

Meeting ID: 512 194 9100 (you will be admitted into a waiting room until the meeting begins)

One tap mobile
+13126266799,,5121949100# US (Chicago)
+19292056099,,5121949100# US (New York)

Dial by your location
+1 312 626 6799 US (Chicago)
+1 929 205 6099 US (New York)
+1 301 715 8592 US (Washington D.C)
+1 346 248 7799 US (Houston)
+1 669 900 6833 US (San Jose)
+1 253 215 8782 US (Tacoma)
Meeting ID: 512 194 9100
Find your local number: https://us02web.zoom.us/u/kBT7D7q41

Who Names this Child? by Nadine Ellsworth-Moran

God didn’t name me—
didn’t come to my father
and mother with anointing oil,
declare a greatness
over my weakness.

Yet,
there is a sound,
unnamable, I hear
rising from femur
and spleen, that pushes
through my veins.

Can I call it divine?

This name,
deeper within
that outweighs fear.

Nadine Ellsworth-Moran is a full-time minister living in Georgia. She is fascinated by the stories unfolding all around her and seeks to bring everyone into conversation around a common table. Her essays and poems have appeared in Interpretation, The Presbyterian Outlook, Emrys, Structo, Kakalak, and Saint Katherine Review, among others.

Drop-In Writing Workshop 7:00 PM 12/15

Drop in from  7:00-8:00pm EDST today for a low-stress Writing Workshop via Zoom.
Come when you can, stay as long as you are able.

A prompt suitable for writers of prose or poetry will be offered at the beginning of the hour and will remain available on screen for the duration.

A suggested goodwill donation of $10.00 though venmo (@Lisa-Hase-Jackson) or paypal (lisahasejackson@gmail.com) helps greatly.

Meeting ID: 512 194 9100
One tap mobile
+13126266799,,5121949100# US (Chicago)
+19292056099,,5121949100# US (New York)

Dial by your location
+1 312 626 6799 US (Chicago)
+1 929 205 6099 US (New York)
+1 301 715 8592 US (Washington D.C)
+1 346 248 7799 US (Houston)
+1 669 900 6833 US (San Jose)
+1 253 215 8782 US (Tacoma)
Meeting ID: 512 194 9100

Find your local number: https://us02web.zoom.us/u/kd0vsMhSjy

Eyes Fastened with Poems by Lois Marie Harrod

Made thing, mad thing
mud and muddied thing—
how hard the poem works

shaping its ship of clay,
what is there to discover?
Sails aghast

but still trying
to suck life
into the little vessel,

shale becomes slate.
Well, take up your chalk
and walk.

Lois Marie Harrod’s 17th collection Woman was published by Blue Lyra in February 2020. Her Nightmares of the Minor Poet appeared in June 2016 from Five Oaks; her chapbook And She Took the Heart appeared in January 2016; Fragments from the Biography of Nemesis (Cherry Grove Press) and the chapbook How Marlene Mae Longs for Truth (Dancing Girl Press) appeared in 2013. A Dodge poet, she is published in literary journals and online ezines from American Poetry Review to Zone 3. She teaches at the Evergreen Forum in Princeton. Links to her online work www.loismarieharrod.org

 

Online Writing Workshops for September

 Yoga and Memoir Workshop: Write, Heal, Transform Join me and yoga instructor Jessica Merritt via Zoom from 6:30-8:30pm Thursdays in September for 4 weeks (September 3, 10, 17, & 24). Get all the benefits of a home practice with the support of professional instructors Jessica Merritt and Lisa Hase-Jackson and fellow yogi/writers. Participants will be led through a 30 minute yoga series followed by memoir writing exercises and instruction. Stay centered AND start or make progress on your memoir this September and feel good doing it. The cost for this class is $199. Email zingarapoet@gmail.com to register.

Advanced Poetry Workshop: a six-week advanced poetry workshop and study group from September 8 to October 13 which will meet on Tuesdays from 8:30pm – 10:30pm Eastern via Zoom with email and Google doc supplements. Each week we will discuss select chapters from “Why Poetry” by Matthew Zapruder, “Madness, Rack and Honey” by Mary Ruefle, and “The Flexible Lyric” by Ellen Bryant Voigt, particularly in terms of whether or not they affect our relationship with poetry, our sense of craft, or our revision process. Some weeks we will focus on generating new work and other weeks we will focus on works-in-progress and/or revision. Participants will be expected to have their own copies of the books. Some supplemental material may be provided. The cost for this class is $120. Email zingarapoet@gmail.com to register.

 

Years Go By by Haley Sui

 

19. 6 years, and sometimes I can’t see anything except the radiation machines that clank against each other, metal shrieks ringing in my ear. 6 years, and I still cry myself to sleep at night. 6 years, and there’s always someone, somewhere, saying PTSD isn’t real. Just get over it.

18. It’s been 5 years. They say I’m safe now. They say it’s over.

18. Legal age. I can vote now. Does the world want me to change it? Do I, even have that right?

17. Oh my god! They took me! Ivy-bound.

17. Applying for college. Will Harvard take me? But they’re so good. Should I even mention the cancer?

16. My friend Vanessa said the scar on my chest looked like I got heart surgery. I was so scared. What if she found out?

16. I can’t tell anybody, right? What if they treat me differently? I don’t want all my friends to be friends with me out of pity.

15. My hair’s so short; I wear a cap everyday to school. Mom talked to the teachers, so they let me wear it in class too. I’m so embarrassed.

15. New school. New faces. Will I be okay? Why did I leave Hunter?

14. Chemo ends in March. They make me ring a nice bell to show I finished treatment. It’s shiny. Does that mean it’s over? Can I go back to my life?

14. I can’t walk in a straight line. My flute lies on the ground, abandoned. My paintings drape over the basement table. Mom and Dad shove my baking tools in an empty drawer.

13. Everyone wants me to say something. But I don’t want to say anything. My throat hurts. Do I have a voice? I think Grandma is asking me something, but I can’t hear her.

13. The surgery is tomorrow. I’m scared of this hospital. This place is weird and looks too bright. My eyes are angry. There are purple butterflies on the walls.

13. I ask Mom why my head hurts so much. Because she’s my Mom. She has all the answers. She looks at me, sad. She doesn’t have an answer.

13. My head hurts. Ow. This really hurts.

13. Jack of all trades. That’s what Grandma calls me. She says she’s proud of me because I can play piano and flute and I can bake yummy stuff and my art is really pretty and I do really good in school.

12. It takes 3 hours to travel to school every day. There’s so much work. It’s ok, though. Mom says it’s the best middle school. Mom knows everything.

11. I got into Hunter! Finally, wow, this took so long.

10.

9.

8. Little brother doesn’t want to go to kindergarten. He’s crying by the window. I go and calm him down.

7. Grandma says I’m her favorite because I can do so many things.

6.

5.

4.

3. I can’t sleep without Mommy. I piddle paddle to her room. Mommy and Daddy are talking, loud but whispering, quiet but angry. I fall asleep outside with my blankie.

2.

1.

0.
 
---
Haley Sui is a sophomore at Harvard University, studying Creative Writing and Neuroscience. She is an active member in her college’s acapella group and dance club, as well as a fervent writer for the university’s science newsletter. When she’s not studying or working on club projects, Haley enjoys listening to lofi music and writing personal memoirs. 

 

Online Writing Workshops to Begin August 1

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Photo by Hannah Olinger

Whether you want to add a little structure to your writing practice or just want to spend time with other writers and gain perspective on your process during the pandemic, these workshops are for you!

Poetry Workshop: twice-monthly online poetry workshop via Zoom for the low cost of $15.00 per workshop (or pay for all 6 workshops in advance for $72.00). The next session will run from August 1 to October 17th  (August 1, August 15, September 5, September 9, October 3, and October 17) from 10:00am to noon Eastern on the 1st and 3rd Saturday of each month. Each workshop will include a writing exercise or prompt with time to discuss works-in-progress and the writing life. Workshop drafts will be due one week before workshop so others can read and consider. Our format will call for a discussion of the writer’s goals rather than a critique or line by line edit. We want to consider the work as a whole and as part of the poet’s larger collection or aesthetic and to generally deepen our relationship with poetry.

Advanced Poetry Workshop: a six-week advanced poetry workshop and study group from September 8 to October 13 which will meet on Tuesdays from 8:30pm – 10:30pm Eastern via Zoom with email and Google doc supplements. Each week we will discuss select chapters from “Why Poetry” by Matthew Zapruder, “Madness, Rack and Honey” by Mary Ruefle, and “The Flexible Lyric” by Ellen Bryant Voigt, particularly in terms of whether or not they affect our relationship with poetry, our sense of craft, or our revision process. Some weeks we will focus on generating new work and other weeks we will focus on works-in-progress and/or revision. Participants will be expected to have their own copies of the books. Some supplemental material may be provided. The cost for this class is $120.

Memoir: Start Where You Are Yoga and Memoir Workshop: Write, Heal, Transform Join me and yoga instructor Jessica Merritt via Zoom from 6:30-8:30pm Thursdays in September for 4 weeks (September 3, 10, 17, & 24). Get all the benefits of a home practice with the support of professional instructors Jessica Merritt and Lisa Hase-Jackson and fellow yogi/writers. Participants will be led through a 30 minute yoga series followed by memoir writing exercises and instruction. Stay centered AND start or make progress on your memoir this September and feel good doing it. The cost for this class is $199. We recommend reserving a spot with a $50 non-refundable deposit.

A full list of online workshops available here: Writing Workshops for Fall

 

Poetry Added to Annual Contest

South 85 Journal is adding POETRY to it’s summer literary contest this year with a $500 cash award. Our inaugural poetry judge is Denise Duhamel.

Full details, including information for the Flash Fiction contest, can be found below and on the South 85 Journal website.  Deadline for contest submissions is August 1st, 2020.


JULIA PETERKIN LITERARY CONTEST HONORS SOUTH CAROLINIAN AUTHOR
Winners in Each Genre will Receive $500 Prize Each

South 85 Journal, Converse College MFA program’s online literary journal, is adding poetry to it’s annual Julia Peterkin summer literary contest.

As in past years, the contest honors South Carolinian author Julia Peterkin, an1896 graduate of Converse College whose novel, Scarlet Sister Mary, received the Pulitzer in 1929.

Submissions are open from June 1 through August 1. One winner in each genre will receive a cash prize of $500 and four runners-up in each genre will be named and published alongside the winning selection in the Fall / Winter issue of South 85 Journal. Only the winners will receive a cash award.

Contest readers, composed of seasoned writers and MFA students, will review submissions and forward them to the presiding judges. Converse College MFA faculty member Marlin Barton will make the final selections for the Flash Fiction award and Converse College MFA faculty member Denise Duhamel will make the final selection for the Poetry award. All submissions will be read blind.

Submit your previously unpublished fiction of 850 words or less for consideration in the Flash Fiction contest or up to three previously unpublished poems of 50 lines or fewer for consideration in the Poetry contest.

For more information or to submit, visit the contest page on Submittable at https://south85.submittable.com/submit/118884/julia-peterkin-award-for-flash-fiction-500-prize.

Interview with Poet Carol Smallwood by Carole Mertz

I am pleased to feature Carol Mertz’s interview with Carol Smallwood.

Carole Smallwood is an interviewer, editor, and literary judge. Her most recent book is Patterns: Moments in Time (Word Poetry, 2019). A multi-Pushcart nominee, she’s founded and supports humane societies. A collection is also forthcoming from Main Street Rag. Their conversation right after this poem by Smallwood:

We Select

a few—the selections random: a melody, morning fog, a path,
knowing with certainty at the time they’ll be ours to the end—
an imprinting sudden as first love with no thought of aftermath:
a sunset, muffled cry, a Thanksgiving dressing, smile of a friend.
Knowing with certainty at the time they’ll be ours to the end,
they return at unexpected moments, their clarity a surprise:
a sunset, muffled cry, a Thanksgiving dressing, smile of a friend
bringing feeling from depths we cannot withhold, disguise.
They return at unexpected moments, their clarity a surprise
an imprinting sudden as first love with no thought of aftermath
bringing feeling from depths we cannot withhold, disguise:
a few—the selections random: a melody, morning fog, a path.

C.M. Carol, from the number of collections you’ve published within the last decade, it’s obvious your work is a rich flow of creativity. Can you tell us a little about your attitude toward work and your writing process? When did you start writing poetry?

Smallwood: Writing never seemed to be work ever since learning to read in school. The whole idea of words—the way they sound, look, evoke, made me feel right away it was a new world I wanted to explore. Of course I had no idea what was involved but knew it was one I wanted to be in. Poetry was a form I didn’t think I’d ever try, as after taking college poetry classes in which one class period was figuring out what a poet meant in one line seemed impossibly hard. But finally I decided to try a few so jumped in and was amazed to get acceptances which encouraged me in 2006 to keep going. Probably dealing with cancer at this time prompted me. Yes, I’m OK now but facing mortality pushes one. By chance I ran across formal poetry and after much struggling came up with a villanelle which gave me so much satisfaction I found out how to do triolets, pantoums, and other forms; the rondeau my latest. I found How to Write Classical Poetry: A Guide to Forms, Techniques, and Meaning (Ragazine) to be of great help. As far as the process of writing, it is illusive, very mysterious. The best comes from our unconscious which we know little. It seems the times I try the hardest are times I do the least and when I am not trying, ideas come. Writers are always writing even if not putting words down as it is a simmering on a back burner we have little to do with. Hemingway wrote The Old Man and the Sea in a very short time as he was ready for it, it was cooked so to speak.

C.M. Do you work mostly at home? If not, how do you establish your routine, for example, if working at a library or another location? In Interweavings, your collection of creative nonfiction, in your essays, and in some of your poems, you refer to visits to the library, and sometimes to the napkins at McDonald’s. I’ve always wondered if you actually took lunches at McDonald’s.

Smallwood: Yes, I work mostly at home now, around 5 hours at the desktop computer. When not at home I often jot down words on paper that is always handy and yes, sometimes when I run out, on napkins or placemats. Lunch out is my carrot to keep me working and I’m a good customer of fast food places—they know me by name and what I order.

C.M. When working at an outside location, what writing tools do you carry in your tote bag?

Smallwood: Just my list of things to shop on back of scrap paper and two pens. Often ideas pop up while I’m driving, so I have a clipboard handy on the passenger seat. It is hard to read on the fly (if you want to read it).

C.M. I’ve admired your essays at Society of Classical Poets on various poetical forms. Does content of your poems dictate the form you choose, or vice versa?

Smallwood: A cinquain sometimes starts as a poem but ends up as a sestina or fiction. My computer screen has a big folder called Unfinished Work that I keep going and often use, that is, finish. My latest notes I took last night long hand watching television.

C.M. Does the material reside in your mind (pre-inscription, as it were) and then you shape the poem? Or do you begin with the formal outline of a villanelle or pantoum, for example, and work the lines into the poem’s formal construct?

Smallwood: Ideas come first and then I write it as a narrative not thinking what form it would fit. The challenge in most formal poetry is not to make it too “sing song” that is, the rhyme must not overwhelm. I often start out with many lines but end up with just a few or toss it.

C.M. In various passages from your writing, you’ve referred to John Galsworthy? How has his writing influenced your own?

Smallwood: I have lunch with John every day even if carrying hard copies in my purse makes it heavy. It was in high school I first read him and greatly admired his style—not knowing about him at all, I just felt it was special and someone I wanted to keep reading. I now have a set (Devon Edition) I treasure that came with uncut pages as well as several autographed books. He has written widely in other forms besides fiction, but it is his novels I keep reading. His The Forsyte Saga has been in at least 2 major television series but I can’t watch it because my image of the characters just doesn’t match those on screen after reading it so often. I often think of his:  “Art was unsatisfactory. When it gave you the spirit, distilled the essence, it didn’t seem real; and when it gave you the gross, cross-currented, contradictory surface, it didn’t seem worth while.”

C.M. Do you have favorite contemporary poets? I feel I’m always trying to catch up on authors I haven’t yet read. Do you feel that kind of pressure?

 Smallwood: Yes, I have that same pressure of keeping up to date. And concluded one just cannot!

C.M. One of my favorite essays from your Interweavings is the one you call “Beginning the Day.” I like it for the “present moment” of the essay and for its reverence of the past, told as much by the scarf the cat played with (made from flour sack material), as by items such as stones saved from the past and reference to an old Department of Agriculture land study. This essay achieved such a balancing of “then and now.” Can you tell us something of how this essay came about?

 Smallwood: Thank you! The things I mention were taken from what I saw. As one that fights to fall asleep, seeing dawn has become very familiar but I can never really capture it—it is an amazing process seeing familiar things take on reassuring form early in the day. The essay was an attempt.

C.M. Your collections are so interesting and so varied, one from the other. In Water, Earth, Air, Fire, and Picket Fences you organize your material according to the earth’s elements, speaking sometimes of the Swan Nebula and sometimes of tea bubbles. The unity of Prisms, Particles, and Refractions, on the other hand, is so different from that of A Matter of Selection where in your preface you address the question of words left in poems and thoughts suggested by what’s left out. When you start assembling your material, do you always recognize immediately the common thread that will make the collection cohere?

Smallwood: Thank you! It isn’t until I’ve written nearly twenty new poems that I can detect a theme to shape a new collection. There is a thread that connects them even if didn’t know it when writing them and it is satisfying to find, pin it down.

C.M. I think readers would be most interested in learning what part of the collection process you find most enjoyable? most laborious? most challenging?

 Smallwood: The most enjoyable is seeing the collection fall into place as a unit out of so many parts. In each collection I use 3-5 Parts in Roman Numerals to place the poems as a further definition. And begin with a Prelude, end with an Epilogue. Give it structure, maybe it is the librarian part of my background. The most laborious is thinking of a new poem: thinking is the wrong word—it just comes when it is ready. Sometimes you are convinced you have written your last one and a new one is a thing of the past; it is all over. The most challenging is to keep yourself open, the waiting.

C.M. If you don’t mind serving further as teacher, could you tell the novice poet how to go about organizing his/her material, or how or when (s)he should approach a publisher?

Smallwood: Once you finish putting the collection together, add requested blurbs, let it sit a month at least, read it with new eyes. Make sure the table of contents matches the order of the poems, spellcheck. If possible, have a friend spellcheck.  This is the way I organized my most recent poetry collection, In the Measuring:

  • Blurbs
  • Half Page (title only)
  • Title/Author Page
  • Epigraph
  • Recent Selected Work
  • Table
  • Foreword
  • Introduction (Preface)
  • Acknowledgments
  • Prelude
  • Names of Parts
  • Epilogue
  • About the Writer

Decide if you want to pay a fee for a contest, or a reading fee. Most publishers go this route but some do not. A reliable list of publishers is by Poets & Writers: Small Presses

Expect to wait, make dozens of submissions as the competition is high. I’ve had 8 poetry collections published so far and another hybrid (not all poetry) is coming out in November from Finishing Line Press; a poetry collection in 2019 from WordTech Editions. John Dos Passos expressed it well when he wrote:  “If there is a special Hell for writers it would be in the forced contemplation of their own works, with all the misconceptions, the omissions, the failures that any finished work of art implies.”

***

Carole Mertz, poet and essayist, is the author of the 2019 poetry chapbook, Toward a Peeping Sunrise (Prolific Press). She writes for various literary journals in U.S. and Canada and resides in Parma, OH. Mertz is the Book Review Editor at Dreamer’s Creative Writing.

Columbus Day by Jenny McBride

Oh Cris Columbus
How I wish you hadn’t come here.
Five hundred years of your celebrations
Have scraped the birds thin
Drained the fish dry
Made the rock cry.
The Vikings sailed back
When their Vinland grew cold
But you wrapped your future
In buffalo robes
And now I don’t know where to turn
When I want to go home.

Jenny McBride’s writing has appeared in SLAB, Common Ground Review, Rappahannock Review, The California Quarterly, Conclave, and other publications. She makes her home in the rainforest of southeast Alaska.

In Dissent by Tom D’Angelo

Both foreign and familiar
you patrol the hidden
America.

You don’t care about
selling the most
cookies.

You know how
to tell a joke but you don’t
want to.

You’ve learned to be
suspicious
learned to be always
on the lookout.

You’ve heard the stories
from the battlefields—
academic, financial, political

and yet you refuse
to run away and join
the circus even though
relationships create
obligations,

so you walk
in perpetual Lent
concentrating ashy guilt and
polishing it to a
rough luster

for you need things
to be raw &
heavy
and irritating
to the eye.


Tom D’Angelo works in the Writing Center at Nassau Community College in Garden City, NY, and teaches courses in Mythology, Film and Literature, and Creative Writing. In addition to poetry, his current projects include a series of creative non-fiction essays on his formative years in Queens, NY. His poems have most recently appeared in The Flatbush Review.

Paperplane letters by Kristina Gibbs

Love was pressed between
Stained smudges of downy diction
            Creased along the edges
Bent over backwards
            Then folded forward
Sealed by the weight of waxy hope
Sent with a flick—
but the sun beat on
      And on
      And on
So it flut ter ed
            Falt er
      ed
                Fall
            ing
Hitting the water
A distraught Icarus.
The whole of its failure upon it
Contributed to its
Sinking.
Words raged
And swirled
Unleashed—
            Torn open
Harboured in
The inky black deep.

Kristina Gibbs is an emerging writer from Tennessee pursuing a Bachelor’s degree in English and minor in Linguistics. She has previously published in Speaking of Marvels and North of Oxford Review. When she is not reading or writing, you may find her clambering over both hiking trails and paint brushes.

10 More WordPress-Hosted Sites Accepting Poetry

Allegheny Review:  The Allegheny Review, now entering its 32nd year of publication, is one of America’s few nationwide literary magazines dedicated exclusively to undergraduate works of poetry, fiction, creative non-fiction, and artwork. Published annually, the periodical showcases some of the best literature the nation’s undergraduates have to offer.

Burning House Press: Burning House Press is born from a community arts ethos and focus. We seek to cultivate spaces where people feel safe and encouraged to explore and express their creativity. We hold a belief in the power of creativity, and share a faith in the fundamental connectivity of all peoples, especially as expressed through the commonality and community of multi-disciplinary arts. We believe that capitalism and its attendant profit culture is a public health issue, affecting us all on the level of our mental, emotional, spiritual and physical health and well-being.

Calamus Journal: A monthly publication of poetry and visual art. The journal is named after the “Calamus” poems, a group of male-male love poems from Walt Whitman’s collection Leaves of Grass. We seek work that stuns with what it has to say as well as how it says it. We like treatises on identity, mixtures of the literary and scientific, and form as function. We have zero tolerance for xenophobia or bigotry of any sort. For more information about who we are and what we’re all about, check out our interview with Jim Harrington of the “Six Questions for…” project.

Echo Literary Magazine: Submit work via Microsoft Word as an attachment including the cover letter. All submissions must be emailed no later than the 28th of each month to echoliteraryjournal@gmail.com. If your story is accepted or rejected you will receive an email. Deadlines for stories: 28th of each month. ALL RIGHTS: The right to own your work. You are free to reprint your material or to sell it elsewhere after publication.

Eyes+ Words: Words have immense power and, when used responsibly, they can help shape the world in hopes to make a better tomorrow. Let’s come together and share a story or two. Please feel free to share your original poetry/stories and we will gladly post them on our website, full credit will be given. Email us: EyesPlusWords@gmail.com

The Green Light: publishes multiple times a year.  We accept submissions on a rolling basis, but we will provide deadlines for each issue. Sprinkled amongst our regular issues will be a few fantastic special issues.

Gulf Stream Literary Magazine: Publishing emerging and established writers of exceptional fiction, nonfiction and poetry since 1989. We also publish interviews and book reviews. Past contributors include Sherman Alexie, Steve Almond, Jan Beatty, Lee Martin, Robert Wrigley, Dennis Lehane, Liz Robbins, Stuart Dybek, David Kirby, Ann Hood, Ha Jin, B.H. Fairchild, Naomi Shihab Nye, F. Daniel Rzicznek, and Connie May Fowler. Gulf Stream Magazine is supported by the Creative Writing Program at Florida International University in Miami, Florida.

Little Patuxent Review: Little Patuxent Review is a community-based publication focused on writers and artists from the Mid-Atlantic region, but all excellent work originating in the United States will be considered.Although our issues are organized around themes, we allow considerable leeway in how contributors interpret them in order to ensure access to the broadest range of high-quality work.

Wild Goose Poetry Review is an online journal of poetry, reviews, and poetry-related news, edited by Scott Owens, located in North Carolina. To facilitate further conversation about the poetry in the Goose, Wild Goose posts commentary by the poets and invites readers to leave their comments as well. All comments are screened by the editors to insure appropriateness. The intention is to publish new issues of Wild Goose in mid February, mid May, mid August, and mid November. Reality, however, sometimes intercedes with such plans. Submissions for each issue close at the end of the month preceding publication.

Wolff Poetry Literary Journal: Now open to accepting poetry submissions— we publish poetry from unpublished or emerging poets. We will accept published pieces too. We don’t charge a reading fee, unsolicited pieces, and are open 365 days a year.

Want to add a wordpress-hosted literary journal to the list? Send a link to ZingaraPoet@gmail.com