Archive June 2020

Deadline Approaches for the Louise Meriwether First Book Prize

Submissions are open for the 2021 Louise Meriwether First Book Prize, presented by the Feminist Press and TAYO Literary Magazine. “Granted to a manuscript that follows in the tradition of Meriwether’s Daddy Was a Number Runner, one of the first contemporary American novels featuring a young Black girl as the protagonist,” the prize honors a debut work of prose by a woman of color or a nonbinary author of color. The winning writer will receive $5,000 and publication of their book by the Feminist Press in the spring of 2021.

To submit, email a work of fiction or narrative nonfiction between 30,000 to 80,000 words and a cover letter by June 30. There is no entry fee. Feminist Press executive director and publisher Jamia Wilson, TAYO Literary Magazine editor in chief Lis P. Sipin-Gabon, author and professor Bridgett M. Davis, and past prize winner Melissa Valentine will judge. Visit the website for complete guidelines.

Louise Meriwether is the author of several books and is also a journalist, antiwar activist, professor, and essayist. She has been a member of the Harlem Writers Guild since its beginning, and has won grants from the National Endowment for the Arts and the Mellon Foundation. Meriwether received a lifetime achievement award in 2016 from the Before Columbus Foundation. That same year Gale Brewer, the Manhattan borough president, declared May 8 to be Louise Meriwether Appreciation Day. In celebration of the impact of Meriwether’s literary career, the prize furthers her “legacy of telling much-needed stories that shift culture and inspire new writers.” Finalists for the first book prize will be notified in October of this year, and the winner will be announced in March 2021. Past prize winners include YZ Chin, Claudia D. Hernández, and Cassandra Lane.

Writer’s Notes From COVID NOLA: Benjamin Morris

Benjamin Morris is the author of Coronary (Fitzgerald Letterpress, 2011), Hattiesburg, Mississippi: A History of the Hub City (History Press, 2014), and Ecotone (Antenna/Press Street Press, 2017), and the editor or coeditor of four volumes of poetry, fiction, and nonfiction. His work has received academic and creative fellowships from Tulane University and a residency from A Studio in the Woods in New Orleans. You’ll always find him somewhere in New Orleans supporting the literary community.

How has this pandemic impacted you personally and professionally?
In a word: multiply. During lockdown I’ve been grateful to stay healthy, but even having avoided the virus thus far, it’s hard to avoid that gnawing feeling of anxiety over so many everyday activities: It seems like everything we do now is laced with tension. That’s the strangest thing; because the virus could be anywhere, it’s everywhere. Every public move you make is a risk calculation. That said, like many folks here and across the country, I’ve taken a punch to the fiscal gut. Early on in the outbreak my hours at my day job were cut in half, and every gig, reading, and appearance I had planned since February has been canceled. Last month, I was supposed to give a lecture on trends in contemporary Mississippi poetry to the Mississippi Poetry Society, which has now been rescheduled for 2023. It’s not been easy.

What books are you reading while quarantined?
I’ve just finished The Everlasting by Katy Simpson Smith, which came out in March (so go buy it!). The novel is set in Rome, Italy, over four different time periods, following a structure not unlike David Mitchell’s Cloud Atlas. Not only is it a gorgeous book in its own right, but mentally traveling through time and space has been an ideal antidote for the malaise of quarantine. Next up is poetry—I’ve got a stack of books from past presenters at the New Orleans Poetry Festival, such as Henk Rossouw’s Xamissa and Lee Ann Brown’s Polyverse. And just before Mardi Gras, a friend gave me a first edition of C. D. Wright’s Rooms Rented by a Single Woman published by Lost Roads Press—what a gift!

If you knew five months ago what you know now, how would you have prepared for this moment?
More exercise equipment! I’ve long held that the gym is like church for the body, and outside of church it remains the single best place to boost mental health. I was underprepared with gear when the outbreak broke out (apologies for the chiasmus), and have had to cobble together different implements since. Believe it or not, you can do more cardio with a rake than you think.

Have you attended or participated in any virtual readings? Is it here to stay or do you prefer to return to in person readings?
When we voted to cancel the 2020 New Orleans Poetry Festival, it was one of the most difficult decisions our board had ever faced. A small salve for the wound was our attempt over the original festival weekend to curate a virtual fest, soliciting videos of readings, panels, tributes, and odes to the kitchen sink—my own submission features a guest appearance from my cat. They’re all up on the festival’s website and I couldn’t be more grateful to everyone who made it happen. But no, to my mind, virtual readings versus in-person events are like how Wynton Marsalis once compared listening to a CD versus going to a live performance: like looking at a picture of a steak.

What’s your hope for New Orleans during and after this pandemic?
One thing that has moved me these last few months is the outpouring of simple kindness from our citizenship. Like many have said—most recently Maurice Ruffin in the New York Times—in some ways this is like Katrina all over again. I well remember from those years the shared recognition that just about everyone you encounter on a given day—friend, family, stranger—is suffering from untold depths of stress, and a little extra patience, tolerance, and consideration can be the difference between a day they survive and a day they don’t. It’s like that all over again. My hope for the city is that we recognize the fragility of all our relationships, even transitory ones, and allow such gentleness and tenderness to reenter civic life for good.

Benjamin Morris. (Credit: David G. Spielman)
 
Kelly Harris is the literary outreach coordinator for Poets & Writers in New Orleans. Contact her at NOLA@pw.org or on Twitter, @NOLApworg.

Upcoming Contest Deadlines

Close out the month by submitting to contests with deadlines of June 30 or July 1. These national and international awards are given for poetry, fiction, nonfiction, and hybrid work. All offer cash prizes ranging from $1,000 to as much as $100,000.

Autumn House Press Literary Prizes: Three prizes of $1,000 each and publication by Autumn House Press are given annually for a poetry collection, a book of fiction, and a book of creative nonfiction. Each winner also receives a $1,500 travel and publicity grant. Ilya Kaminsky will judge in poetry, Dan Chaon will judge in fiction, and Jaquira Díaz will judge in nonfiction. All entries are considered for publication. Deadline: June 30. Entry fee: $30.

Claremont Graduate University Kingsley & Kate Tufts Poetry Awards: The $100,000 Kingsley Tufts Poetry Award is given annually to honor a book of poetry by a midcareer U.S. poet. The winner spends one week in residence at Claremont Graduate University in California. The $10,000 Kate Tufts Discovery Award is given annually to honor a first book of poetry by “a poet of genuine promise.” Deadline: July 1. Entry fee: none.

Feminist Press/TAYO Literary Magazine Louise Meriwether First Book Prize: A prize of $5,000 and publication by the Feminist Press is given annually for a debut book of fiction or narrative nonfiction by a woman of color or a nonbinary writer of color. Deadline: June 30. Entry fee: none.

Finishing Line Press New Women’s Voices Chapbook Competition: A prize of $1,000 and publication by Finishing Line Press is given annually for a poetry chapbook by a woman who has not yet published a full-length collection. Leah Maines will judge. Deadline: June 30. Entry fee: $16.

Futurepoem Other Futures Award: A prize of $1,000, publication by Futurepoem, and 25 author copies will be given annually for a book of poetry, fiction, nonfiction, or hybrid-genre work. The editors will judge. Deadline: July 1. Entry fee: $28.

Hidden River Arts William Van Wert Memorial Fiction Award: A prize of $1,000 and publication in Hidden River Review of Arts & Letters is given annually for a short story or a novel excerpt. Deadline: June 30. Entry fee: $17.

Nuclear Age Peace Foundation Barbara Mandigo Kelly Peace Poetry Award: A prize of $1,000 and publication on the Nuclear Age Peace Foundation website is given annually for a single poem that explores “positive visions of peace and the human spirit.” Deadline: July 1. Entry fee: $15.

The Moth International Short Story Prize: A prize of €3,000 (approximately $3,364) is given annually for a short story. A prize of a weeklong retreat at Circle of Missé in Missé, France, with a €250 (approximately $281) travel stipend, and a prize of €1,000 (approximately $1,122) are also given. The winners will all be published in the Moth. Mark Haddon will judge. Deadline: June 30. Entry fee: €15 (approximately $17).

University of North Texas Press Katherine Anne Porter Prize: A prize of $1,000 and publication by University of North Texas Press is given annually for a collection of short fiction. Deadline: June 30. Entry fee: $25.

University of Pittsburgh Press Drue Heinz Literature Prize: A prize of $15,000 and publication by University of Pittsburgh Press is given annually for a collection of short fiction. Writers who have published at least one previous book of fiction or a minimum of three short stories or novellas in nationally distributed magazines or literary journals are eligible. Deadline: June 30. Entry fee: none.

Visit the contest websites for complete guidelines, and check out the Grants & Awards database and Submission Calendar for more contests in poetry, fiction, and creative nonfiction.

COVID Vivid Interview: Katherine Hoerth

Hey mi gente, glad you could stop in for a little post about what’s been happening here in Houston. Summer is here and I wanted to take a moment to talk to some writers in my city and see how they have been spending their time during the lockdown due to the COVID-19 pandemic. For this series of posts, I posed one simple question to these writers:

What have you been doing since the pandemic started?

So first off, we begin with Katherine Hoerth. The author of several poetry collections, including Goddess Wears Cowboy Boots, which won the Helen C. Smith Prize for the best book of poetry in Texas in 2015, Hoerth is an assistant professor of English at Lamar University and serves as editor-in-chief of Lamar University Literary Press. This fall, her collaborative poetry collection Borderland Mujeres will be published by SFA Press. The book is a bilingual collection of feminist poetry and art created with poet Julieta Corpus and artist Corinne McCormack-Whittemore.

Here is Hoerth’s response:

“When the pandemic started, I was just getting off for my spring break; I never would have imagined what would unfold in the coming weeks and months, and that I would never see many of my graduating students again. Alas, I have been hunkered down at home with my cats but in good health and spirits, and I've been writing new poetry, Zooming with students, workshopping online, and participating in virtual poetry readings such as Houston’s Public Poetry reading series to share my latest poems. For National Poetry Writing Month (NaPoWriMo), I participated in the 30/30 challenge to write a poem a day on my blog, and I felt compelled to write about the pandemic just as a means of recording the experience. Two of my pandemic poems have found homes in TEJASCOVIDO, a blog curated by Angelo State University English professor Laurence Musgrove. Thankfully, I am still able to work remotely for Lamar University Literary Press, and my coeditor Daniel Valdez and I will be spending much of the summer putting together a new anthology of eco-poetry from the Texas Gulf Coast titled Odes and Elegies. What I miss most dearly is attending poetry readings in person—I long for the camaraderie of my fellow Southeast Texas poets, and I look forward to the day when we can share a mic once again.”

Katherine Hoerth with her cats. (Credit: Katherine Hoerth)
 
Lupe Mendez is the literary outreach coordinator for Poets & Writers in Houston. Contact him at Houston@pw.org or on Twitter, @houstonpworg.

Upcoming Contest Deadlines

Pass the early days of summer by submitting to contests with a deadline of June 15. These poetry, fiction, and nonfiction awards include a special opportunity for writers in Maryland and several small press awards. All offer a cash prize of $1,000 or more.

Bitter Oleander Press Library of Poetry Book Award: A prize of $1,000 and publication by Bitter Oleander Press is given annually for a poetry collection. Entry fee: $28.

New American Press Fiction Prize: A prize of $1,500, publication by New American Press, and promotional support is given annually for a book of fiction. Nick White will judge. Entry fee: $25.

Towson University Prize for Literature: A prize of $1,000 is given annually for a book of poetry, fiction, or creative nonfiction by a current resident of Maryland who has lived in the state for at least three years. Books published within the past three years or scheduled for publication in 2020 are eligible. Entry fee: none.

University of Akron Press Akron Poetry Prize: A prize of $1,500 and publication by University of Akron Press is given annually for a poetry collection. Additional manuscripts may also be considered for publication in the series. Philip Metres will judge. Entry fee: $25.

Willow Springs Books Spokane Prize for Short Fiction: A prize of $2,000 and publication by Willow Springs Books is given annually for a short story collection. Entry fee: $27.50.

Visit the contest websites for complete guidelines, and check out the Grants & Awards database and Submission Calendar for more contests in poetry, fiction, and creative nonfiction.

Salt Body Shimmer

As of June 1, the stay-at-home order has been lifted in Michigan, however many of us are still taking extreme caution against the coronavirus. One silver lining to this extended time staying inside our home has been having plenty of time to spend with my wife Brittany Rogers who is also an active poet. She always stays three steps ahead of me with new books, so I thought that this would be a great time to share both of our thoughts on a new collection by someone we have both received mentorship from: Aricka Foreman.

I recently wrote about Foreman’s chapbook, Dream With a Glass Chamber published by YesYes Books in 2016. Now, I am excited to write about Foreman’s first full-length collection, Salt Body Shimmer, which will be released in August by YesYes Books.

When I asked Brittany how she would describe Foreman as a writer, she said, “Tender. Intentional. Interrogative. Complex.” These were all words we both agreed embody the writing across Foreman’s work.

After reading Salt Body Shimmer, Brittany said, “In these poems I feel very seen. They felt like an indication for me as a Black woman to tend to my mental health. Foreman teaches me consistently about nuance—about turning a vulnerable eye to things you wish not to feel.”

The four poems in particular that embodied these feelings best, and connected most closely to Brittany as a reader and writer were: “When the Therapist Asks You to Recount, You Have to Say It,” “Intake Interview,” “Consent Is a Labyrinth of Yes,” and “Before I Fire Her, The Therapist Asks What Is it Like to Be a Black Woman Here: A Monologue.”

For me, as I read this collection, I was brought back to something Foreman said to me during her time as my mentor, “Poetry is a documentation of history.” Just like that literary (and life) advice, Salt Body Shimmer captures moments at a pivotal time in Foreman’s history during a pivotal time in world history. The intersections are layered and far beyond the bounds of my conversation with Brittany. As I mentioned before, Brittany stays a few steps ahead of me, so I am still snapping my fingers at the first twenty pages. I can’t wait to dive deep into the other poems in the collection and learn another layer of lessons from one of my favorite mentors.

Salt Body Shimmer by Aricka Foreman.
 
Justin Rogers is the literary outreach coordinator for Poets & Writers in Detroit. Contact him at Detroit@pw.org or on Twitter, @Detroitpworg.

 

Deadline Approaches for the Richard J. Margolis Award

Submissions are open for the 2020 Richard J. Margolis Award. Established in the memory of journalist, essayist, and poet Richard J. Margolis, the annual prize awards $5,000 and a one-month residency at Blue Mountain Center in Blue Mountain Lake, New York, to a journalist or essayist whose work “combines warmth, humor, and wisdom and sheds light on issues of social justice.”

Submit a cover letter, a project description that includes details of current and anticipated work, a short bio, and two to three writing samples totaling no more than thirty pages by July 1. There is no entry fee. The winner will be announced in November, with the Blue Mountain Center residency to take place in summer or fall 2021. Visit the website for complete guidelines.

Over the course of his career, Richard J. Margolis worked as a writer, educator, editor, and activist. He wrote widely on education, healthcare, poverty, rural America, and racial justice, among other topics, and his articles appeared regularly in such publications as the New York Times and Washington Post. His friends and family founded the Richard J. Margolis Award in 1992, a year after he died due to sudden heart failure at age sixty-one.  The award’s most recent winner is memoirist Mansoor Adayfi, who received the honor for work that turns his “fourteen-plus years of captivity at Guantánamo Bay Prison Camp into compelling narratives of human connection and hope.”

Writer’s Notes From COVID NOLA: Tracy Cunningham

Tracy Cunningham is the managing director of the Tennessee Williams & New Orleans Literary Festival and co-director of the New Orleans Writing Marathon. A fiction writer, her writing has appeared in Louisiana Literature and in various anthologies.

How has this pandemic impacted you personally and professionally?
Personally, I’ve been truly lucky, in that no one in my family or my immediate close circle of friends has been ill from the virus. I’ve been able to continue working with ease, as I already have a dedicated writing studio at home, so I’ve just made room for my festival work in my creative space. Professionally, this has been quite a challenge. Our year of preparing for the Tennessee Williams Literary Festival and Saints+Sinners LGBTQ literary festival was all for naught, as we had to cancel just twelve days before our opening event. Since then, we’ve scrambled to adapt to the online world, and we’ve done a few online events with more planned for the coming months. A festival is inherently a social activity, and to move portions of that to an online format is daunting, but we’re eager to connect with our writers and patrons.

What books are you reading while quarantined?
I’m finally finding time to read some of the books by authors who were part of our 2020 festival programming. I’ve recently enjoyed Jac Jem’s False Bingo, Saeed Jones’s How We Fight for Our Lives and Jamie Attenberg’s All This Could Be Yours. Now I’m diving into Maurice Carlos Ruffin’s We Cast a Shadow, and I can already see why it’s getting so much praise. Katy Simpson Smith’s newest book, The Everlasting, is next in my pile.

If you knew five months ago what you know now, how would you have prepared for this moment?
Professionally, knowing that far in advance that our festivals would be canceled would have made that process so much easier. Cancelling just twelve days before kickoff was extremely stressful, especially since we were among the earlier events that had to shut down, so there was no real model to follow.

Luckily, our small team works well together and we were able to get the word out to our people and handle refunds quickly. Personally, I would have enjoyed the city more, had more cocktails and dinners with friends, and appreciated everything NOLA has to offer just a bit more.

Have you attended or participated in any virtual readings? Are they here to stay or do you prefer in-person readings?
I have attended some and I like it just fine, although it’s a bit awkward with everyone smiling and nodding silently. I like how unexpected fun can erupt, though, like at the end of Leigh Camacho Rourks’s reading and interview for her book Moon Trees and Other Orphans. We were all fawning over her two cats, and suddenly all of us grabbed our pets to show them off onscreen. It was a hilariously sweet moment.

In-person readings are ultimately better though for connecting readers and writers, getting books signed, and feeling more in tune to the literary community. But for now, this is what we have and I’m happy to see how many opportunities we have to connect. Our independent bookstores, like Garden District Book Shop, have hosted some great online events, and we partnered with them and Beauregard-Keyes House to host an upcoming Sunday Salon Series. And we partnered with Tubby & Coo’s Mid-City Book Shop to feature some of our Saints+Sinners Festival speakers.

What’s your hope for New Orleans during and after this pandemic?
My husband works at Galatoire’s, so we’re eager to see the numbers drop low enough for restaurants to re-open (with careful measures to keep patrons safe, of course). I hope we’re able to gather again and enjoy the beauty and history and culture that is so uniquely New Orleans.

Tracy Cunningham. (Credit: Tracy Cunningham)
 
Kelly Harris is the literary outreach coordinator for Poets & Writers in New Orleans. Contact her at NOLA@pw.org or on Twitter, @NOLApworg.