The literary magazine Barzakh has a newly designed website and has just opened a new reading period. Submit fiction, poetry, non-fiction, criticism, multi-genre work, and art by February 15th. Check it out!
Fence Books will be launching a new imprint Fence Digital tonight in Hudson, NY.
This Sunday at 8 p.m. at Ör Gallery and Tavern in Hudson, NY: a Fence Digital Poetry Live Reading, featuring Matthew Klane, Michael Leong, and a reading of writing by the late Brian Young.
The reading celebrates the launch of Fence Digital, a new electronic imprint of Fence Books, publishing multimedia electronic poetry, fiction, and hybrid texts that reinvest digitization with materiality, treating the screen as a skin. This continues Fence’s mission to redefine the terms of accessibility by the sharing of material texts across a variety of electronic formats.
I’m the faculty adviser for the online magazine Barzakh, which recently announced a new call for submissions for their upcoming issue.
Barzakh Magazine is open for submissions from Nov. 15, 2016 through 11:59 p.m. EST on Feb. 15, 2017.
We define ourselves as an “isthmus,” a space of crossings and connectivity, between histories, articulations, and media—making of these frontiers a site of inquiry and revitalization. We want your fiction, poetry, criticism, personal essay, translation*, drawings, photographs—you name it—that pushes against complacent taxonomies and finds itself forging new paths.
Guidelines: All submissions must be submitted to firstname.lastname@example.org. Each genre must be submitted individually. Submit no more than 5 poems, up to 5,000 words of prose, or 5 images. Each submission must be one attached file. We accept submissions in .doc, .docx, .rtf, .pdf, .jpeg, and .mp3 formats. For video submissions, please send a link to an uploaded file, rather than an attachment. The subject line of your email should read “SUBMISSION: [GENRE]: [AUTHOR LAST NAME]” (For example, “SUBMISSION: POETRY: DICKINSON”)
As an interdisciplinary journal with an internationalist stance, Barzakh is looking for critical and creative works that pry wide the liminal spaces between aesthetic modes and fields, between tongues, and between histories. We seek especially works that actively engage with global and local crises and the acts of resistance/pushback that have galvanized in response to them, including, but not limited to:
* Fallout from the 2016 U.S. presidential election
* Violence and conflicts in Syria, Nigeria, Iraq, and across the world
* The water protection movement at Standing Rock
* Race, police brutality, and protest in the era of Black Lives Matter
* Social media as protest and propaganda
* Pledges of Allegiance
* Border walls
* Speaking out against sexual harassment and assault
* Safe spaces
* Politics of identity
Our past issues have featured the works of Nathaniel Mackey, Bernadette Mayer, Vernon Frazer, Edwin Torres, Jena Osman, and Lydia Davis.
The issue will launch in late March of 2017, in correspondence with the 15th Annual UAlbany EGSO Conference: The Badass, featuring acclaimed poet, essayist, and critic Rigoberto González.
*Translations should be accompanied by source text in original language, and written confirmation that you have English translation rights to the piece.
Contributors’ Rights: By submitting work, contributors permit Barzakh Magazine to publish it on our website, and Barzakh retains first serial rights in our digital issue. Copyright reverts to original author immediately upon publication. Barzakh Magazine retains the right to remove your work from our publication without prior notice.
A Moonlight Inn Freed
Of Cheery Strata.
Revolt, Our High Esthete—
Defy Tropic Ice.
Look On, Evil Enemies.
Howl, Albino Teeth.
A Wild Century Whirls.
What do we make of Vanessa Place’s curious presence in the special dossier “On Race and Innovation” that Dawn Lundy Martin edited for the November 2015 issue of boundary 2? To put it mildly, Place is not the first person one would expect in such a grouping. Is this an example of “conceptual editing”? Martin, not surprisingly, explicitly frames the dossier in terms of the recent controversies that have inflamed the poetry world since last spring:
Kenneth Goldsmith was excoriated for reading Michael Brown’s autopsy report in a conceptual poetry performance at Brown University, and a petition successfully got Vanessa Place (included in this issue) removed from an AWP subcommittee because of her Twitter appropriation of the black voices from Margaret Mitchell’s Gone with the Wind. Still, in all the mayhem, in all the personal attacks on social media, there has not been much actual conversation about what poetry has to say, and can say, about race in the contemporary moment.
A diptych of two hand-drawn phrases, “IT’S KIND OF FUCKED UP” and “IT’S FUCKED UP” (see above), Place’s piece seems to demonstrate in a colloquial register what Freud calls the “narcissism of minor differences.” Continue reading
The editorial staff at Barzakh is happy to announce that submissions for Issue 8 are now open!
As a multigenre, interdisciplinary journal with an internationalist stance, Barzakh is looking for
critical and creative works that pry wide the liminal spaces between aesthetic modes, fields, and archives, that plumb the nooks and crannies of experience where the estranged and the
uncanny reside, and which trace and transcend the boundaries that define what we as artists
We want your fiction, poetry, art, criticism—you name it—that pushes against complacent
taxonomies and finds itself well off the beaten path. We define ourselves as an “isthmus,” a
space of crossings and connectivity, between histories, articulations, media—making of these
frontiers a site of play and revitalization.
Our past issues have featured the works of Nathaniel Mackey, Bernadette Meyer, Vernon
Frazer, Edwin Torres, Jena Osman, and Lydia Davis.
Please send all submissions as an email attachment to barzakhmagazine@gmail. com. The
deadline for submission is 3/7/16. The issue will launch with a reading from Elisa Albert at the
UAlbany EGSO 14 th Annual Graduate Conference on April 1 st , 2016.
For more information about Barzakh , please visit barzakh.net.
Last month, the New York Times ran an interesting piece by Alexandra Alter with the heavily alliterative and assonantal title “Web Poets’ Society: New Breed Succeeds in Taking Verse Viral.” Alter describes how Instagram and Tumblr poets with thousands of followers are becoming “best-selling celebrity poet[s].” The article begins with a profile of Tyler Knott Gregson, whose first book “has more than 120,000 copies in print” and whose new book All the Words Are Yours: Haiku on Love had a first run of 100,000 copies (those figures are not typos):
On a recent Friday night, Tyler Knott Gregson, a blond, tattooed poet from Montana, took the stage at a Manhattan bookstore and beamed at the crowd that had come to celebrate his new haiku collection.
“This is rad. I appreciate it,” he said, taking in the roughly 150 people who had crowded into Barnes & Noble. The response from the mostly young, mostly female audience amounted to a collective swoon.