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The Library of Congress’s Poetry and Literature Center is accepting nominations for the Rebekah Johnson Bobbitt National Prize for Poetry. The biennial prize is given for a poetry collection written by a U.S. citizen and published in the previous two years, or for lifetime achievement in poetry. The winner will receive $10,000 and will give a public reading in the fall.

Publishers may submit four copies of a book published in 2012 or 2013, along with the required entry form and a suggested $50 contribution to the Library of Congress by postal mail to Bobbitt Prize, Poetry and Literature Center, Library of Congress, 101 Independence Avenue, S.E., Washington, D.C. 20540. The postmark deadline is July 31. Books published in a standard edition of at least 1,000 copies are eligible. A collected or selected work is eligible only if it contains at least 30 poems previously unpublished in a book. A three-person jury and the Librarian of Congress, James Billington, will judge.

Established in 1990, the Bobbitt prize is given by the family of Rebekah Johnson Bobbitt (1910-1978). Bobbitt, who worked at the Library of Congress in the 1930s, was the late President Lyndon B. Johnson’s sister.

Gerald Stern won the 2012 Bobbitt Prize for Early Collected Poems: 1965-1992 (Norton, 2010). Other winners of the prize include James Merrill, Louise Glück, A. R. Ammons, Kenneth Koch, Frank Bidart, W. S. Merwin, and Lucia Perillo.

Even if you're not a big fan of the Transformers movies, consider the basic idea of everyday machines transforming into some sort of robot or creature. This week, write a story in which one of your characters discovers a household appliance that has transformed itself into something else. For example, when making her morning toast, your character notices the toaster has morphed into a small flying machine, and is stuck in a tree in the backyard. Write about how your character feels upon discovering this machine has a mind of its own, and how her relationship with the machine in question, as well as the world around her, is altered after this experience.

"The city's old, / but new to me, and therefore / strange, and therefore fresh," Margaret Atwood muses in her poem "Europe on $5 a Day." Today write about being a visitor in a strange new city, walking the streets, and observing the locals going about their daily tasks. Describe in detail the smells in the air, the sounds clouding around you, and the unique images that meet your eyes. The goal is to make your reader feel like they are also seeing this place for the first time, even if they have been there before.

Poets & Writers' fourth annual Los Angeles Connecting Cultures Reading took place on May 22, 2014, before a packed house at Beyond Baroque Literary/Arts Center. Sixteen writers representing P&W–supported organizations 826LA, Heartland Institute for Transformation, Lambda Literary Foundation, Levantine Cultural Center, Mixed Remixed Festival, and Tia Chucha's Centro Cultural & Bookstore came together to celebrate the diversity of the SoCal literary community and Poets & Writers' Readings & Workshops program. R&W (West) director Jamie Asaye FitzGerald blogs about this lively annual event.

2014 Los Angeles Connecting Cultures Group

"We are the blood, the blood of a city of mixed hearts," recited 19-year-old poet Laura Davila, wowing the audience with her expansive poems about urban life in Los Angeles and capturing the spirit of Poets & Writers' fourth annual Los Angeles Connecting Cultures Reading, which celebrates the diversity of our Readings & Workshops program and the SoCal literary community.

Connecting Cultures readings take place yearly in Los Angeles and New York City. Each event is exceptional because it brings together a diverse group of organizations—from the grassroots up—to showcase voices before an audience that is as varied and expressive as the readers themselves.

Davila, who is blind and read not from the page, but from a reading machine, was selected by curator Mike "ThePoet" Sonksen, whose 826LA summer teen writing workshops have received R&W support for a number of years. Like 826LA, all the organizations invited to co-curate the Connecting Cultures Reading have received support through the R&W program.

Other highlights from the Los Angeles event included poet and playwright Jesse Bliss, who performed her reading while holding her baby. "Creation is messy," she read, as little hands reached out to touch the microphone and grab hold of her mother's printed poem.

Melinda Palacio, who was making her second appearance at Connecting Cultures, proudly held up her poetry collection, How Fire Is a Story, Waiting (Tia Chucha Press, 2012), explaining that the last time she read, she didn't have a book, but now she does!

So large is the sprawl of Los Angeles, it wasn't surprising to hear poet Vickie Vértiz say it was her first time reading on the Westside. She read her poem "Tocaya" (meaning "namesake" in Spanish), about being named after a deceased older sister.

Novelist Juliana Maio of the Levantine Cultural Center took us on a journey through the back streets of Egypt while Tony Valenzuela, reader and curator for the Lambda Literary Foundation, read an excerpt from his memoir about coming of age in a San Diego gay bathhouse. Fiction writer Esmé-Michelle Watkins of the Mixed Remixed Festival, gave us a child's-eye-view of a family in turmoil.

When talking of "the medicine," poet Queen Hollins, representing the Heartland Institute for Transformation, declared: "It doesn't do any good if you keep it to yourself."

If what ails Los Angeles is a geography of separation, then writing was the medicine that brought everyone together on this night. Sharing that medicine is exactly what the sixteen Connecting Cultures readers did, reaching across divides and distances to bring us back to what matters most—our human stories and experiences.

You can see more pictures from the 2014 Los Angeles Connecting Cultures Reading on our Facebook page, and a video of Jeffery Martin, representing Tia Chucha's Centro Cultural & Bookstore, reading his poem "Serious Poet," on our YouTube channel.

Photo: 2014 Los Angeles Connecting Cultures group. Front: (L-R) Esme-Michelle Watkins, P&W's Brandi Spaethe, Trebor Healey, librecht baker, Heidi Durrow, Jamie Moore. Back: (L-R) P&W intern Leticia Valente, Beyond Baroque's Richard Modiano, Laura Davila, Tony Valenzuela, P&W's Jamie Asaye FitzGerald, Gayle Fuhr, Queen Hollins, Melissa Sanvicente, Jeffery Martin, and Chris L. Terry. Credit: Brandi M. Spaethe.
Major support for Readings/Workshops in California is provided by the James Irvine Foundation. Additional support comes from the Friends of Poets & Writers.

Submissions are currently open for the Kingsley Tufts Poetry Award and the Kate Tufts Discovery Award, sponsored by Claremont Graduate University. The $100,000 Kingsley Tufts Award is given annually to honor a poetry collection by a midcareer U.S. poet; the winner will also spend a week at Claremont Graduate University in California giving readings, lectures, and workshops. The $10,000 Kate Tufts Discovery Award is given annually to honor a first book of poetry by “a poet of genuine promise.”

Poets, publishers, agents, or friends may submit eight copies of a poetry collection published between September 1, 2013, and June 30, 2014, with a list of previously published work and the required entry form by July 1. There is no entry fee. The preliminary judges are Charles Altieri, Jennifer Chang, and Brian Kim Stefans. David Barber, Stephen Burt, Kate Gale, Wendy Martin, and Chase Twichell will serve as final judges.

The Kingsley Tufts Poetry Award offers one of the world’s largest monetary prizes for a single poetry collection. Established in 1993 by Kate Tufts, the widow of poet Kingsley Tufts, the prize is meant to “enable a poet to work on his or her craft for awhile without paying bills.” The Kate Tufts Discovery Award was started one year later in 1994.

Previous winners of the Kingsley Tufts Poetry Award include Afaa Michael Weaver, Marianne Boruch, Timothy Donnelly, Chase Twichell, D. A. Powell, Matthea Harvey, and Tom Sleigh. Recent winners of the Kate Tufts Discovery Award include Yona Harvey, Heidy Steidlmayer, Katherine Larson, Asturo Riley, Beth Bachmann, Matthew Dickman, and Janice N. Harrington. Read more about the 2014 winners on the G&A blog.

Photo: Kate Tufts

Whether or not you're a die-hard soccer fan, you're probably noticing the intensity with which people are focusing on this year's World Cup. These types of international sporting events tend to bolster one's sense of national pride. Have you ever felt united with others through such a large-scale sporting event? Do you feel like cheering on a team with a large group of people gives you a sense of community and belonging? Write a short personal essay reflecting on the subject.

This past Friday a South African couple finished a sixty-five-hundred-mile journey by rowboat from Morocco to New York City. It took them six months to paddle their twenty-three foot vessel, named Spirit of Madiba in honor of Nelson Mandela, across the Atlantic Ocean. This week, write a story about what you imagine such a journey would be like. Consider the dangers of crossing such a massive body of water, and what it would feel like to spend that much time sharing such a small space with another person.

In Hans Christian Andersen's classic fairy tale, the Little Mermaid must make sacrifices in order to become a human, including drinking a potion that gives her legs in exchange for her tongue. This week think about what you would be willing to sacrifice to have the chance to live the life you always dreamed of. Write a poem about the process of making the sacrifice, whether magical or ordinary, and the emotions that surface after it is complete.

Ana Laurel is a writer who has been working as Voices Breaking Boundaries’ managing director since January 2013. She graduated summa cum laude with a BA in English from the University of Houston-Downtown in 2012. During her time at UH-D, she served as general editor of the Bayou Review, the school's literary and visual arts magazine, president of Sigma Tau Delta (International English Honor Society), and was a regular presenter at UH-D's annual Gender Conference. Upon graduation, she was awarded the 2012 Senior Portfolio Prize, the school's highest honor for English majors.

Ana LaurelWhat makes your organization and its programs unique?
Voices Breaking Boundaries (VBB) is a special organization for many reasons, but what makes us most unique is the subject matter we tackle and the structure through which we tackle it. Since 2009, VBB has been producing the thematic-based living room art series which aims to find common threads between two seemingly disparate regions (focusing around Houston, Texas and South Asian cities such as Karachi, Pakistan), in order to foster a greater sense of compassion, understanding, and awareness. With additional support from The Andy Warhol Foundation for the Visual Arts and The National Endowment for the Arts, and with support from Poets & Writers, we have been able to expand this structure into a multi-year series called Borderlines that explores North American (Mexico-US-Canada) and South Asian (Afghanistan-Pakistan-India-Bangladesh) border regions through art. Within each year of our three-year Borderlines series, VBB produces two large living room art productions in residential Houston homes showcasing art created by local and international artists including: two film screenings tackling social issues faced by those in the two border regions we’re exploring, community arts workshops introducing Houston community members to self-expression and healing through the arts, and an interactive website, art catalogue, and documentary granting global access to the content and art covered during the year.

What recent project and/or program have you been especially proud of and why?
I am particularly proud of our very first community arts workshop with the Mamas del Northside from Houston’s historic Near Northside district. As VBB began to work deeper and more closely with different Houston communities, we knew that in addition to bringing high-quality, international art into underserved communities, we would also need to work with them to develop their own artistic talents for self-expression. Then, they would be able to enjoy and appreciate art from a critical perspective. For our inaugural community arts workshop, we teamed up with our community partner, Avenue CDC, and created a workshop based around Mamas del Northside, an amazing group of women who had just begun to meet and discuss what they could do to improve their homes, families, and community. Most of the women were stay-at-home mothers who spoke very little English and had never written creatively before. As we quickly found out, since becoming wives and mothers, they had not even had an opportunity to speak about their own experiences. Though the workshops only lasted a few weeks, and some women only came sporadically due to obligations at home, those who did attend changed dramatically in their time with our experienced facilitator, Stalina Villarreal. The workshops were full of laughter, tears, anger, and poetry. Every woman that came left with her own journal to keep, and it is my genuine hope that they use them to continue writing and discovering themselves as women, mothers, and human beings—and that they continue letting me hang around to witness it.

What’s the craziest (or funniest or most moving or most memorable) thing that’s happened at an event you’ve hosted?
The most memorable thing that happens (though working in this line of work, there are many!) for me during our season is always the evaluation dinner that takes place at the end of our Writing for Self-Discovery (WSD) teacher workshops. The WSD teacher workshops are free and open to teachers in the Houston area who are interested in sharpening their teaching skills, strengthening their writing skills, and exploring themselves through writing. At our most recent evaluation dinner in May, the two facilitators and I all sat down to eat with the workshop participants. We discussed their progress since beginning the workshops in February. One of the teachers began to cry, explaining that this year was the hardest for her in thirteen years of teaching because the stress (from testing, the school district, etc.) had culminated to a very fine edge that semester, and she found herself truly struggling in the classroom. Then she explained how our workshops came into her life at the exact right moment to fill her with the hope she needed to continue to help children attain the education they deserve. Her words are better than mine, but she told me that the workshops allow her the time and space to think about and forgive who she was and who she is, and help her siphon off and tackle the stresses from everyday life so that she has space in her heart and mind for the needs of her students. That moved me because that’s what we want in our teachers—that kind of dedication, compassion, and commitment to their students and their education, and someone to whom the needs of children will always take precedence. I was just so grateful she let me share in that moment.

How has literary presenting informed your own writing and/or life?
I’m very fortunate because I came into VBB as a writer with a deep passion and respect for language, and now, as the managing director (and only full-time employee), I get to attend all of our arts writing workshops that take place in the community and in schools. While I don’t attend every single session, I usually join them for the first, the last, and one or two in the middle. I get to be around beginning writers (like Mamas del Northside), seasoned writers (from teacher workshops), and young, unfiltered writers (in youth workshops).  In addition, I get to take in the expertise our facilitators bring to the table. Not only do the workshops expand my own capacity to imagine and feel in both my life and writing, but they also inspire me to actively pick up my pen and journal at the end of the day when I’ve worked over nine hours and am completely drained. Because no matter what, I don’t deal with a peer group full of hormones and cliques, a classroom full of students who need constant attention and compassion, or a home full of children and a husband whose needs always come before my own.  If all the participants in our workshops can pick up their pens and journals after all of that, so can I.

What do you consider to be the value of literary programs for your community?
Language and literacy are important because they help us express ourselves to each other and through that shared expression, we are able to build communities. Without it, we lose touch with each other, and the ties that bind our communities fall apart. In 2000, Sehba Sarwar decided that she didn’t like what was happening in her home country and wrote a poem to express her distaste. Writing became her form of protest and through that poem, she drew together four other women writers and artists who banded to form Voices Breaking Boundaries, an organization I am now a part of today, almost fifteen years later. These five women created a legacy and lineage of women who continue working and fighting to ensure that language and literacy are not lost, and that all of our stories will continue to be told. After all the trends and gadgets come and go, our stories, told to each other or on paper, will continue on and carry our histories and lessons to the generations that follow. Every community deserves the chance to take part in such a timeless legacy.

Photo: Ana Laurel   Credit: Ana Laurel

Major support for Readings & Workshops in California is provided by the James Irvine Foundation. Additional support comes from the Friends of Poets & Writers.

PEN American Center has announced the shortlist for its annual literary awards, which this year will give nearly $150,000 in prize money to established and emerging writers and translators. The awards are given for works of poetry, fiction, nonfiction, translation, and children’s books.

“The PEN Literary Awards bring together writers, editors, and members of the literary community to celebrate the ultimate fruit of free expression: great literature,” said PEN Executive Director, Suzanne Nossel. “These shortlists represent a remarkable array of diverse talents.” In May, PEN issued the first longlist for the awards, in an effort to bring greater attention to the books submitted for the prizes.

The final winners will be announced on September 29 in New York City at the PEN Awards Ceremony, cosponsored by the New School.

On Wednesday night, PEN also announced Ron Childress as the winner of the PEN/Bellwether Prize for Socially Engaged Fiction. The biennial prize, founded and funded by novelist Barbara Kingsolver, is given for an unpublished novel by an author whose work “addresses issues of social justice and the impact of culture and politics on human relationships.” Childress will receive $25,000, and his novel And West Is West will be published by Algonquin Books in Fall 2015. Terry McMillan, Nancy Peral, and Kathy Pories judged.

Established in 1922, the New York City–based PEN American Center works to “ensure that people everywhere have the freedom to create literature, to convey information and ideas, to express their views, and to make it possible for everyone to access the views, ideas, and literature of others.” PEN American Center has administered its Literary Awards for almost 50 years.

Below is a full list of finalists in each category:

PEN/Robert W. Bingham Prize ($25,000): To an author whose debut work—a first novel or collection of short stories published in 2013—represents distinguished literary achievement and suggests great promise.

A Constellation of Vital Phenomena (Hogarth), Anthony Marra
Brief Encounters With the Enemy
(The Dial Press), Saïd Sayrafiezadeh
Everybody’s Irish
(FiveChapters Books), Ian Stansel
Godforsaken Idaho
(Little A/New Harvest), Shawn Vestal
The People in the Trees
(Doubleday), Hanya Yanagihara

Judges: Charles Bock, Jonathan Dee, Fiona Maazel, and Karen Shepard

PEN/Diamonstein-Spielvogel Award for the Art of the Essay ($10,000): For a book of essays published in 2013 that exemplifies the dignity and esteem the essay form imparts to literature.

Forty-One False Starts (Farrar, Straus & Giroux), Janet Malcolm
Let’s Explore Diabetes With Owls
(Little, Brown and Company), David Sedaris
The Faraway Nearby
(Viking Adult), Rebecca Solnit
Critical Mass
(Doubleday), James Wolcott

Judges: Geoff Dyer, Stanley Fish, Ariel Levy, and Cheryl Strayed

PEN/E. O. Wilson Literary Science Writing Award ($10,000): For a book of literary nonfiction on the subject of the physical or biological sciences published in 2013.

The End of Night (Little, Brown and Company), Paul Bogard
Five Days at Memorial
(Crown), Sheri Fink
High Price
(Harper), Carl Hart
Surfaces and Essences
(Basic Books), Douglas Hofstadter & Emmanuel Sander
Wild Ones
(Penguin Press), Jon Mooallem

Judges: Akiko Busch, Rivka Galchen, and Eileen Pollack

PEN Open Book Award ($5,000): For an exceptional book-length work of literature by an author of color published in 2013.

Duppy Conqueror (Copper Canyon Press), Kwame Dawes
Leaving Tulsa
(University of Arizona Press), Jennifer Elise Foerster
domina Un/blued
(Tupelo Press), Ruth Ellen Kocher
Cowboys and East Indians
(FiveChapters Books), Nina McConigley
Ghana Must Go
(Penguin Press), Taiye Selasi

Judges: Catherine Chung, Randa Jarrar, and Monica Youn

PEN/Jacqueline Bograd Weld Award for Biography ($5,000): For a distinguished biography published in 2013.

Lawrence in Arabia (Doubleday), Scott Anderson
Holding On Upside Down: The Life and Work of Marianne Moore
(Farrar, Straus & Giroux), Linda Leavell
Margaret Fuller
(Houghton Mifflin Harcourt), Megan Marshall
American Mirror: The Life and Art of Norman Rockwell
(Farrar, Straus & Giroux), Deborah Solomon
A Life of Barbara Stanwyck
(Simon & Schuster), Victoria Wilson

Judges: James Atlas, Lisa Cohen, and Wendy Gimbel

PEN/ESPN Award for Literary Sports Writing ($5,000): To honor a nonfiction book on the subject of sports published in 2013.

Collision Low Crossers (Little, Brown and Company), Nicholas Dawidoff
The Sports Gene
(Current), David Epstein
League of Denial
(Crown Archetype), Mark Fainaru-Wada & Steve Fainaru
The Emerald Mile
(Scribner), Kevin Fedarko
Their Life’s Work
(Simon & Schuster), Gary M. Pomerantz

Judges: Joel Drucker, Chad Harbach, and Jackie MacMullan

PEN/Steven Kroll Award for Picture Book Writing ($5,000): To a writer for an exceptional story illustrated in a picture book published in 2013.

Train (Orchard Books), Elisha Cooper
Tea Party Rules
(Viking), Ame Dyckman
The King of Little Things
(Peachtree Publishers), Bil Lepp
Crabtree
(McSweeney’s McMullens), Jon & Tucker Nichols

Judges: Mac Barnett, Ted Lewin, and Elizabeth Winthrop

PEN Award for Poetry in Translation ($3,000): For a book-length translation of poetry into English published in 2013.

Even Now: Poems by Hugo Claus (Archipelago), David Colmer
Diaries of Exile
by Yannis Ritsos (Archipelago), Karen Emmerich & Edmund Keeley
Collected Haiku of Yosa Buson
by Yosa Buson (Copper Canyon Press), Takako Lento & W.S. Merwin
Paul Klee’s Boat
by Anzhelina Polonskaya (Zephyr Press), Andrew Wachtel
Cut These Words Into My Stone: Ancient Greek Epitaphs
(Johns Hopkins University Press), Michael Wolfe

Judge: Kimiko Hahn

PEN Translation Prize ($3,000): For a book-length translation of prose into English published in 2013.

An Armenian Sketchbook by Vasily Grossman (New York Review Books), Elizabeth & Robert Chandler
Transit
by Anna Seghers (New York Review Books), Margot Bettauer Dembo
The African Shore
by Rodrigo Rey Rosa (Yale University Press), Jeffrey Gray
The Emperor’s Tomb
by Joseph Roth (New Directions), Michael Hofmann
Autobiography of a Corpse
by Sigizmund Krzhizhanovsky (New York Review Books), Joanne Turnbull & Nikolai Formozov

Judges: Ann Goldstein, Becka McKay, and Katherine Silver

Photo: Ron Childress, credit PEN American Center

Some families are gung-ho about holding regular family reunions, while others would prefer not to go through the ordeal of rounding everyone up. This week, write about a family reunion you've attended, or one you've heard stories about. Was the event hosted by your family or someone else's? Did everyone go on a trip together, or did it take place at someone's house? There is bound to be some drama when families get together, so don't forget to include some juicy details!

For the tenth and final installment of this summer's Winners on Winning series, we spoke with Jessica Hollander, who won the 2013 Katherine Anne Porter Prize for Short Fiction for her debut story collection, In These Times the Home is a Tired Place. The annual prize includes $1,000 and publication by the University of North Texas Press. Originally from Ann Arbor, Michigan, Hollander received her MFA from the University of Alabama, where she currently teaches English, composition, and creative writing.

How has winning this award impacted your career?
The most exciting part about winning has been engaging with the larger writing community. Getting reviews and interviews and being invited to participate in readings and events is invigorating and has certainly gotten my writing more exposure. I’ve also received a handful of contacts from agents and editors, and I recently signed with an agent.

Has winning this award, or previous awards, changed the way you approach your work?
I think winning the award has reinvigorated my enthusiasm to experiment with short stories. I took risks in structure and language in this collection, and winning the award has encouraged me to continue to do so. There’s such a range of publishing opportunities for collections, so many small and university presses with varying aesthetics, so it’s not necessary to think about a mainstream market. I like taking risks from story to story and focusing on what’s exciting me about the writing.

Have you ever entered a contest that you didn't win?
I’ve entered tons of contests that I didn’t win. In These Times the Home is a Tired Place had been turned down by several contests and presses before winning the Katherine Anne Porter Prize. There are so many different aesthetics out there, so many different readers and judges, and there’s no way to predict who might love your work. It’s a lesson I learned when submitting to literary journals, when it would sometimes take a dozen tries before placing a piece. Not to mention I’ve disliked many books that received praise by others, and I’ve loved books that others have hated. Of course rejections still hurt enough that it can be hard to write for a day or two. I try to accept that disappointment is inevitable.

What advice would you offer to writers thinking of submitting to writing contests?
Don’t count on anything in this writing life, but throw your name in the hat as much as you can afford. I suggest first having your writing workshopped by experienced writers you trust, and it doesn’t hurt to get stories or novel excerpts published before sending full books to contests. These things can help you weather rejections better. Because the writing world is insanely competitive. My whole experience being a writer, from applying to graduate schools, getting published in magazines, winning contests, and now seeking tenure-track employment, has taught me to not be too emotionally invested in the outcome of anything. Getting published or winning a contest is the second most satisfying thing that can happen to a writer, but the most satisfying has to be writing itself.

To read more from winners, check out the previous weekly installments of our Winners on Winning series.

Photo: Jessica Hollander, credit Richard Mocarski.

Descriptions offer clarity, and the more detailed your descriptions of events, places, and people, the more fully the reader can experience the emotion and ambiance you are trying to establish. This week, make loads of detailed lists. Make them everywhere you go: the supermarket, your car, the park, your bedroom. Use all five senses to classify where you are, how you're feeling, and what those feelings make you think of. When you're writing a scene about a sticky summer morning on the bus, you'll be able to look back at your list and use the notes you made about the condensation on the windows, or the crying child in the seat behind you.

Often times we go through our days thinking about what we have to get done rather than how we are feeling. We push through feelings of discomfort or fatigue, thinking if we don't pay them any attention they'll go away. Today, try to pay more attention to the messages of your body. Pause and ask your body, "What do you want?" Listen for the response. Write a poem about the experience of tuning in to these physical messages.

Submissions are currently open for the second annual Prada Feltrinelli Prize, cosponsored by the Italian fashion house Prada and the Italian publisher Giangiacomo Feltrinelli Editore. The winner or winners will each receive €5,000 (approximately $6,783) and publication in Prada Journal, a digital anthology distributed through the Prada website. The annual award is given for a short story.

Using the online submission system, submit a story of 10 to 20 pages in any language by June 24. There is no entry fee. The story should focus on the question, “What are the signs of a changing world? And what situations can we envision? Taking a good look at the details might give us the answer.” Representatives from Prada and Feltrinelli Editore, along with an international jury, will judge the contest. The winner will be announced by December 31, and the full terms and conditions can be read on the Prada website.

The inaugural winners of the prize were Mattia Conti of Molteno, Italy; Leisl Egan of Melbourne, Australia; Angel Mario Fernández of Soraluze, Spain; Sarah Harris Wallman of New Haven, Connecticut; and Peng Yang of Beijing, China. They each received €5,000, and were honored at an event at the Prada Epicenter in New York City in October 2013. At the event, excerpts of their stories were read aloud by writers and actors Jonathan Ames, Zoe Kazan, Anthony Mackie, Jay McInerney, and Gary Shteyngart. Over 1,300 entries in over 30 languages were submitted for the 2013 prize. The 2013 Prada Journal can be downloaded from the Prada website and read in both the original language and in English. Of the five winning entries, two were written in English, one in Italian, one in Spanish, and one in Mandarin Chinese.

Four of the five inaugural winners, from left to right: Sarah Harris Wallman, Peng Yang, Mattia Conti, Leisl Egan.

Photo credit: Larry Busacca/Getty Images North America

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