Call for Submissions – South 85 Journal

South 85 Journal is open for submission beginning today, August 1, 2019. South 85 Journal accepts poetry, fiction, and creative non-fiction and is published online twice yearly. Please read past issues for a sense of our aesthetic.  Submission fees are waived from August 1-14 for early-bird submissions. Click here to read past issues and full submission guidelines.

Zingara Poetry Review – Call for Submissions

Submissions are open for Zingara Poetry Review. 

ZPR will feature particular groups of individuals in the upcoming months, so please take a look at the following preferences. If none of the categories below feel like a good fit for you, please submit your work for National Poetry Month when ZPR will be publishing a poem every day of the month.

August: Work by undergraduate students who are currently enrolled in an undergraduate program (any discipline) or who have graduated within two years. CLOSED

September: Work by graduate students currently in a writing-related graduate program, including MFA, MA in English, etc.

October: Work by indigenous people, particularly Native Americans.

November: International Writers (anyone who isn’t living, or wasn’t born, in the United States).

December: Poets over 50

January: New and unpublished poets (0-3 single publications, no books or chapbooks)

February: African American/Black American Poets

March: Women only please!

April: Poetry Month – a poem will be published every day this month so send your best work early!

May: Poets who live WEST OF THE MISSISSIPPI

June: LGBTQ

July: Editor Favorites

Guidelines:

  • Send 1-3 previously unpublished poems of 40 lines of fewer in the body of an email, any style, any subject, to ZingaraPoet@gmail.com with the submission category (e.g. Undergraduate Student) as the subject of your email.
  • Include a cover letter and brief professional biography of 50 words or fewer, also in the body of your email.
  • Submissions are accepted year round.
  • Simultaneous submissions are fine, but please let me know immediately if submitted work is accepted elsewhere.
  • Published poets receive bragging rights and the chance to share their work with a diverse and ever-growing audience.
  • Submissions which do not follow these guidelines will be disregarded.
  • If accepted work is later published elsewhere, please acknowledge that the piece first appeared in Zingara Poetry Review.
  • There are no fees to submit, though you will be subscribed to the Zingara Poetry Review newsletter.
  • Check Zingara Poetry Review every week to read new poems, which are normally published by 9:00am Eastern Time.
  •  Zingara Poetry Review retains first digital rights, though rights revert back to the poet upon publication.

What I look for in a poem:

Like all editors, I like to see interesting poems that do what they do well. Whether traditional, conceptual, lyrical, or formal, they should exhibit the poet’s clear understanding of craft and, just as importantly, revision. Very elemental poems that have not undergone effective revision will probably not make the cut. Likewise, poems which are contrived, sacrifice meaning for the sake of rhyme, feel incomplete, do not risk sentimentality (or are too sentimental), or lack tension when tension is needed, will also be dismissed. I am a fan of rich, vivid imagery, cohesive discursiveness, and surprising metaphors. Finally, poems which perpetuate harmful stereotypes of gender, race, or class will most certainly not be considered.

For a very good discussion on the elements of effective poetry, take a look at Slushpile Musings by James Swingle, publisher and editor of Noneucildean Cafe’

Response time is 2 days to 6 months

“Of the Palm” by Toti O’Brien

I admire the naivety
How she stands among fellow trees
sporting nothing
but a scanty cluster of leaves
in guise of a canopy
as if going to a Victorian ball
in flapper attire
also wearing of course
a feathered hat
Of the palm
I admire the frail nakedness
delicately osé
like a dancer’s shaved leg
sheathed by nylon hoses
If she dares
intruding the arboreal crowd
without blinking
while so shamefully alien
uncaring of uniforms
she reveals
among sister specimens
exceptional
skills of discipline
How they march in orderly rows
tracing parallels
with their trunks
fastening earth and sky
with thin stitches
How concertedly
at the first puff of wind
they tickle the horizon
as if playing a keyboard
with soft, even touch
whole steps half steps
hand in hand
up and down the scale
facilement

 

Toti O’Brien is the Italian Accordionist with the Irish Last Name. She was born in Rome then moved to Los Angeles, where she makes a living as a self-employed artist, performing musician and professional dancer. Her work has most recently appeared in Gyroscope, Pebble Poetry, Independent Noise, and Lotus-eaters.

 

Neighborhoods I’ve Yearned For by Michelle Grue

Prince Albert town homes
Trees so beautiful I can live with their
pollen that makes me sneeze
Museums of purloined art and the
heights (and depths) of science
Posh crêperie on the street corner

Creaking porch swings
Acres of grass perfect for the active
imaginings of my little black kids
Creek down the way filled with
pollywogs and crawfish
Trees with moss hanging down
obscuring the strange fruit they once hung

Tip-top walking score
Mom and pop flower shop
Ethnic food not yet gentrified,
A brewery that is
Black that don’t crack still
sitting on the stoop and
spilling tea like they been
doing since their double-dutch days
Miss Mary Mack still dressed in black

Michelle Grue is a doctoral candidate at the University of California, Santa Barbara. She studies higher education pedagogy and writing studies through the lenses of intersectionality and critical digital literacies. She has previously published in the fantasy journal Astral Waters Review, The Expressionists Magazine of the Arts, and DASH Literary Journal. Feeding her creative energies and making space during motherhood and graduate school life has been a challenging pleasure.

 

Elegy with Ice Cream by Kathy Nelson

            ―Travis Leon Hawk

A man fits a contraption
onto a wooden pail, fills it with ice.
The child turns the handle as easily

as her Jack-in-the-box but soon
grows bored and runs to play
in the dappled shade of July.

This the man who, as a boy, teased
white fluff from the knife-edges
of cotton bolls under summer sun

till his fingers bled. Once, he spied
a rattler coiled between his feet.
He wants her to understand how

hardship built this good life, how
readily dust could blow again, how
quickly flak jackets could come back.

He calls her to him, teaches―add salt
to the ice, keep the drain clear, turn
the crank without haste, without desire.

Her small shoulder stiffens. He grips,
labors with his own broad forearm,
churns the peach-strewn cream.

Kathy Nelson (Fairview, North Carolina) is the author of two chapbooks―Cattails (Main Street Rag, 2013) and Whose Names Have Slipped Away (Finishing Line Press, 2016). Her work has appeared or is forthcoming in Asheville Poetry Review, The Cortland Review, Tar River Poetry, Broad River Review, and Southern Poetry Review.

Homage to the Horny Toad by Chuck Taylor

Friend Montrose says Why don’t you play the lead
in my next horror film? I’m filming in
Junction where the motel rents are low. The
Monster’s going to be the horny toad.

I’ll film him close and blow the image up
So on screen the horny toad looks large and
Scary what with all that horny skin.

That ought to work I say. We had them in
The backyard down in Deadwood. They can squish
Down flat or blow up big to scare away
The wolves, the foxes, and the coyotes.

You think you know these toads? Why they can squirt
Bright red blood out of their eyes. That’s why I
Am shooting the film in Technicolor.

They’re tiny guys, but not scared of people.
They’ll sit quiet on the palm of your hand.

Carolyn’s said she’ll play the heroine. She’ll
Be chased by what seems to be a giant
Evil monster. Its sticky tongue will flick
Out as if it’s going to swallow her
Whole. A developer’s out to buy her
Land and has trained the beast to chase her.
Good thing you’re using the horn toad. No one

Will recognize little guy made big on
The screen. When I was a kid growing up
I’d see them everywhere, but haven’t seen
The horny toad in more than twenty years.

Chuck Taylor’s first book of poems was published by Daisy Aldan’s Folder Press in 1975. He worked as a poet-in-the-schools and as Ceta Poet in Residence for Salt Lake City.

Michelle Renee Hoppe Launches “Capable,” Seeks Submissions

I first met Michelle Renee Hoppe in 2009 when we were both teaching for the same company in South Korea.  Though our contact with one another has been casual since then, we have managed to keep tabs on each other through various social media. I was excited when she reached out to ask me to help get the word out about her new literary magazine, Capable, and am very happy to share the following interview wherein we learn what Michelle has been up to these last 10 years.

Wow. It’s been a while since we last saw one another in person. Tell me what you have been up to since 2010.

Almost a decade! I have been teaching special education in NYC public schools, earning an MSED in special education, and, as of three days ago, really started to develop Capable. I’ve been to Hong Kong, fallen in love, almost gotten married, not gotten married, and even had my first online publication about it all. I’m now dating a wonderful Mexican engineer who supports my writing like no one else I know.

Tell me more about your current project, “Capable,” including the significance of the title. Do you have a mission statement? 

Right now our mission is to raise awareness of the community of disabled and ill among universities and clinics to doctors, medical advocates, and professionals. We aim to help universities teach disability and illness through an arts lens. There is a substantial amount of research that supports that having empathy helps physicians practice better medicine, and that narrative medicine, including reading literature and viewing art, goes a long way in developing such empathy.

Years ago, I brainstormed Capable with some friends from undergrad and they thought it was the best way to describe a zine that was dedicated to stories of disability and illness.

We seek exceptional work, because people with disabilities make exceptional work. I don’t pull any punches about that.

What kind of work are you seeking and where can people send their submissions? How many pieces can a writer submit? How many pages or poems? Are there any submission fees?

I would say this is the best example I can muster about what we are looking for in nonfiction: https://magazine.nd.edu/stories/his-last-game/

No submission fees for now, though after we launch, we’ll charge $3 to $5 per submission to cover the costs for Submittable. Until then, anyone can send me as much work as they like at michellehiphopp@gmail.com, but I cannot promise I’ll get through all of it in a month. I recommend sending two poems and up to 3,000 words of prose. I love long pieces of prose, but I do want to keep things tight for the launch. I have a soft spot for humor pieces. I think a lot of us use humor to cope and it’s its own art.

What are some of your favorite literary journals?

I’ve found a reading home at Catapult. I absolutely adore them. They have such a sense of community there, and it’s remarkable to be able to offer classes in addition to a publication. I’ve taken two amazing classes and I really recommend Allie Rowbottom as a teacher. I also read Luna Luna Magazine, as they have a section dedicated to stories of chronic illness, and their founder Lisa Marie really showed me by doing that a publication is possible. She’s a bright light, despite the fact that I think there is not any such thing as magic. She’s also built such as sense of community through her work. I really admire that.

And, of course, Zingara Poetry Review. I love that you are able to teach. I still remember you were so kind in Korea. You and Gary were so welcoming, and you really spoke to the emerging author in me. Your warmth meant a lot.

Are you the sole editor for this project or are you working with a team?

I am not the sole editor, but I am kind of a one-woman show at the moment, as my editorial team is just getting together. I’m so impressed with them. I have to remind myself that I’m the manager of the talent and not the talent to keep going. I receive a resumes that are so impressive that I don’t know what to say to that person except, “Congratulations, I probably cannot afford you right now. I’m sorry.” I’m going to have to put together a team of all stars for the VC funding pitch, because these investors want a team they can believe in, and I am fully confident we have that through the #Binders group and others.

There are also the wonderful emails from reeeeally established authors. They are like, “Call me when you can afford me. I’m in.”

Honestly, I appreciate all the emails right now. This has been my baby for about three years now, ever since I recovered from my own illness and learned to cope with my own disabilities.

What inspired you to start such a literary journal? Will this be solely online or do you plan to send out print copies as well?

I have been “sick” my whole life. I’ve been misdiagnosed with leukemia and thyroid disorders, and I have celiac disease. It’s frustrating to be told again and again that I am making these things up when they are very real.  I also work with students with disabilities every day, and the disabled are the largest minority and the most underrepresented in the entertainment industry. I learned that from a friend of my cousin’s,  Maysoon Zayid. Everyone should see her TED talk.

I would love for it to be a print publication, but that’s not something I can afford right now. We are just getting funding off the ground. Right now, I want to get everyone on my team and my authors paid as much as possible. They deserve it.

What other projects are you working on?

I’m working on Teach North Korean Refugees. TNKR is a nonprofit that doesn’t get enough attention in South Korea. They help rehabilitate North Korean refugees and teach them English. They also help them author their own lives for the first time, and it’s really inspiring work. Honestly, they’ve done more for my career than any other position I’ve taken. They’re that into advocacy that they even advocate for their team, and I’d like to be like that as a Founder. The founders are geniuses of the nonprofit world, and so kind.

I’m writing a collection of essays about growing up in an espionage family. I probably never told you about that, but, yeah, both my parents were raised with spies. It’s tentatively titled We Don’t Talk About the Family. It includes many scenes with pinatas. My mother insisted on pinatas at every birthday. Gotta love being (kind of) Puerto Rican and raised in Japan. My work–I Can Make You Immortal, My Rapist Told Me–was recently endorsed by Donna Kaz and earlier Brian Doyle told me one of my essays was, “Damn fine, searing and layered work.” His words are something I turn to when I feel less alone, and the world really misses him. Like you guys, he was so kind to everyone.

Michelle can be reached at michellehiphopp@gmail.com.