Filed under: Announcements, Art, Fiction, Nonfiction, Poetry, Uncategorized
As of today, August 20th, and until October 25th, we’ll be accepting submissions for our print spring issue. Look into your feminist archives for your best work of fiction, nonfiction, poetry, or visual art, put it through a last round of tough love, and submit!
We know you know this but let us show you our love with a friendly reminder that we recommend reading past issues for a feel of what makes our feminist hearts swell and minds soar. If you simply cannot endure waiting for your subscription to kick in, may I recommend our fourth annual summer issue, gratis and online for your reading pleasure.
Most important, take a moment to look over our Submit page where you’ll find guidelines for all genres, including the So to Speak blog.
Now begins the waiting game! Happy submission season!
So to Speak is thrilled to announce the winners of its 2014 Fiction Contest, judged by Charles Blackstone. The winning pieces will be published in our Fall 2014 issue, so be sure to order your copy today!
CONTEST WINNER: Maurice Carlos Ruffin, “The Anchor Song”
Maurice Carlos Ruffin is a graduate of the Creative Writing Workshop at the University of New Orleans and a member of several writing collectives, including the Peauxdunque Writers Alliance and the Melanated Writers of New Orleans. His work has been published or is forthcoming in Apalachee Review, Regarding Arts & Letters, Ellipsis, South Carolina Review, Unfathomable City, Redivider Journal, Knickknackery, Writing Tomorrow Magazine, and 94 Creations. He is also the recipient of the 2011 Ernest Svenson Fiction Award and the 2013 Joanna Leake Prize for Fiction Thesis, both awarded by the University of New Orleans Creative Writing Workshop.
HONORABLE MENTION: Rachel Mangini, “Classic Manhattan”
Rachel Mangini’s fiction has been published in Smokelong Quarterly and The Fourth River, among other journals. She is currently at work on a novel.
CONTEST JUDGE: Charles Blackstone
Chicago-native Charles Blackstone, one of Newcity’s Lit 50 in 2012 and 2013, is the author of 2013 novel Vintage Attraction. He is co-editor of the literary anthology The Art of Friction and the author of the novel The Week You Weren’t Here. His short fiction has appeared in Esquire’s Napkin Fiction Project, the &NOW Awards: The Best Innovative Fiction anthology, Lewis University’s Jet Fuel Review, and the University of Maine’s Stolen Island. Blackstone has also written essays for the Chicago Sun-Times and The Millions, and his short plays have been produced by Victory Gardens and Lifeline Theaters. Blackstone is managing editor of Bookslut, an internationally acclaimed book review publication and blog.
Blackstone holds degrees from the University of Illinois at Chicago and the University of Colorado, where he directed the Graduate Reading Series and received the Barker Award for Fiction. He has taught at Colorado, Wright College, The University of Chicago’s Graham School, and Shimer College. Currently he is a private-practice ghostwriter, coach, and editor for clients at all stages of the publication process.
Filed under: Christina C, Fiction, Opinion, Politics, Starring Local Feminists
The Little Mermaid’s Predecessor That Most Feminists Don’t Know About.
Hans Christian Andersen’s “The Little Mermaid” is a goldmine for contemporary feminist fairy tale re-writers. Regardless of how they choose to respond to the original tale, they find plenty of material to work with. What they emphasize, what they change, and what they reject all together provide insight into whether the little mermaid, as she initially stands, should be considered a positive female figure. One of the tale’s more sensitive issues among feminist writers is the notion that the woman must cater to the man’s world and adapt to his life. To feminists’ disappointment, Andersen’s mermaid willingly adapts.
Most rewriters of “The Little Mermaid,” however, are not familiar with the little mermaid’s surprisingly progressive ancestor, Agnes, from the medieval folk ballad “Agnes and the Merman” (sometimes known as “Agnete and the Merman”), an early literary example of exogamous marriage. In the first half of both the folk-song and Andersen’s tale, the protagonist immigrates to the man’s world, leaving her own world behind. The second half of Agnes’ story, however, will surprise and interest feminists. It is necessary to disclose what becomes of the human girl, Agnes, after she has immigrated to a merman’s world, for her ending may be the very ending that feminist rewriters unknowingly seek.
After Agnes lives with the merman for many years and bears him seven sons, she soon longs to return home. The merman gives her leave to visit the land as long as she promises to return to her “children small” (Olrik 114). Instead of keeping her promise, she chooses to remain on land and abandon her mer-husband and children. When the merman comes on land to retrieve her, he beckons to her: “Heed now, Agnes, what I say to thee! / All thy little children are longing after thee” (115). Agnes’ answer is harsh and surprising: “Let them long as they will, let their longing be sore, / I shall return to them nevermore” (116). Indeed, she rejects her role as wife and mother. Even when the merman tries to exploit her maternal sympathies by asking her to think of their children, Agnes remains firm in her final answer: “I think not of the grown ones, nor yet of the small, / Of the baby in the cradle I’ll think least of all” (116). She rejects all that is traditionally thought to be a woman’s lot in life: marriage and motherhood. By refusing to return to the sea, she rejects the limitations of this ideal, as well as the notion that a woman must cater to her husband’s lifestyle.
Whether or not one agrees with Agnes’ choice, her self-directed and unapologetic repudiation is remarkable. Her ending presents an alternative to the little mermaid’s outcome—the possibility of liberation from the traditional path through a means other than death. For this reason, Agnes’ liberating ending may indeed be the ending that feminist writers seek but cannot find in their revisions of “The Little Mermaid.” Feminist revisions, after all, seek to expose, question, and challenge the implausibility of traditional gender constraints and social expectations, and, above all, liberate the original text and its readers from those constraints and expectations. Agnes is the embodiment of that liberation—a kind of radical feminism far ahead of its time—but, unfortunately, her story has been lost. Andersen’s “The Little Mermaid,” as a newer tale of “the double world” theme, was so popular that medieval Agnes was inevitably forgotten. Perhaps feminist rewriters of “The Little Mermaid” are, without realizing it, attempting to reclaim some trace of Agnes. Or if they’re not, then maybe they should be.
Three writers in particular have striven to reconstruct Andersen’s protagonist: Barbara Walker in “The Littlest Mermaid,” Joanna Russ in “Russalka or The Seacoast of Bohemia,” and Emma Donoghue in “The Tale of the Voice.” They each have something different to offer, but all three respond in some way to the problems of voice and autonomy in the original tale. Interestingly, none of these revisions responds to the original little mermaid’s goal of immortality. All three stories focus only on her secondary goal of winning the prince and attack her pursuit of a romantic ideal. This focus may perhaps be explained by the fact that the romantic ideal and the notion of self-sacrifice for romantic love are dominant in the minds and lives of contemporary women.
Ideally, a feminist version of Andersen’s mermaid would remain able to rely upon herself for success rather than upon another. Perhaps, even feminist revisions cannot break free of certain contradictions; perhaps we still embrace the notion of woman as self-sacrificer. It seems, then, that the most realistic goal is to find a happy medium. Perhaps there is no definitive way to achieve this medium—perhaps Andersen’s mermaid can only be happy in death, and perhaps Agnes’ abandonment of her mer-family is not an ideal model of behavior—but in the end, every little mermaid should maintain the human right to pursue her own ends on her own terms, with her own voice intact to guide her.
Olrik, Axel, ed. A Book of Danish Ballads. Trans. E.M. Smith-Dampier. Freeport, New York: Books for Libraries Press, 1968.
Christina Elaine Collins, in addition to serving as So to Speak’s Assistant Editor, is a Pushcart Prize-nominated fiction writer, an MFA candidate and English instructor at George Mason University. Her fiction can be found in various literary journals such as Jabberwock Review, Poiesis Review, Weave Magazine, and Rose Red Review. She has been a writer-in-residence at the Kimmel Harding Nelson Center for the Arts as well as the Art Commune program in Armenia. You can find her on Twitter at www.twitter.com/CElaineCollins.
Kelly Ann Jacobson on the feminist path she walked to write her novel Cairo in White:
I discovered feminism in a very strange place: a Critical Methods literature class during sophomore year of college at George Washington University. Critical Methods was a requirements for an English major—the major I switched into after realizing that Environmental Studies majors actually had to take science classes—and the instructor was Todd Ramlow, a professor who taught both English and Women’s Studies courses. Though he was a wonderful professor, I could have cared less about linguistic theory, and so I was surprised to find myself unexpectedly rapt when we read an essay about the pressures placed on women. He also taught us to look at how strong and supported our arguments were, not whether we agreed with a position or not. I took another class with Professor Ramlow the next semester, this time a Women’s Studies course, and then the next semester I took another one…and suddenly I was a Women’s Studies major.
In truth, my Creative Writing classes were what had convinced me to switch into English in the first place. I still pursued my passion for Fiction as a minor, and as I learned more and more about feminism, it began to creep into my creative work. I was dating an Egyptian man at the time who, when asked about the gay men and women in his country, told me there were no gay men and women in Egypt. So, a character emerged in a short story (later to be the first chapter of a novel), a woman of color, a Muslim lesbian struggling with feminism in her own country and then in ours. As my boyfriend explained Egypt’s lack of gay acceptance, Zahra was born. Even a little bit of linguistic theory made its way into Zahra’s life.
Of course, as soon as I became a Women’s Studies major, I started questioning my writing. I took a class on Standpoint Theory, and as I read the arguments for and against writing from “the other’s” point of view, I began to reconsider my novel. Was it wrong to write Zahra’s story? Should her story only be written by an Egyptian? A lesbian? A Muslim? What if I got something wrong? What if I quoted a bad translation of the Qur’an, or misinterpreted it by accident?
Eventually, I put my doubts aside. This was a story that had to be told, and as Zahra and then her daughter appeared again and again in my writing, it seemed that I was the one to tell it. I couldn’t give up on my project, so I did everything I could to get close to my characters. I learned Arabic. I asked my boyfriend (and then fiancé) everything I could about Egypt. I visited Cairo. I spent hours poring over Internet descriptions and photographs of the sites in Cairo that passed in a blur during a whirlwind trip, recreating the city for my reader and for myself.
The key to writing this novel, in my experience, was finding my own connections to the characters’ experiences. I, too, questioned my own sexuality. I came from a religious, conservative family, and my borderline Green Party ideals, protests, Egyptian fiancé, and Women’s Studies pursuits didn’t always fit. And, at the same time I struggled to reconcile some claims of third wave feminism with my Pennsylvania upbringing. Aisha was easier, since I was an American seeing Egypt for the first time and, like Aisha, trying to impress my religious future in-laws.
No, I’m not a Muslim, Egyptian lesbian, but maybe I don’t have to be. Perhaps writers, in order to do justice to the characters and the cultures they write about, just need to find the common thread that connects their experience to their characters’. To empathize, and to work hard to understand. I followed that thread for six years and through countless drafts, and, though it wasn’t easy and though I’m not sure I got everything right, I finally completed a work that I am proud to call my own, my first novel: Cairo in White.
Excerpt from Cairo in White:
Zahra woke in a sweat, her silk nightgown plastered to the curves of her body under the light sheet. The shadows on the walls indicated the time was past noon, and by the feel of the air around her, the temperature was more than thirty degrees Celsius. She turned on her back as the repetitive whoosh of the fan struggled to mask the heat. The oasis between her thighs was wet like the rain stored in a succulent’s leaves. A dream, perhaps, of another sleek body, half-covered and close.
She kicked the sheet off, a scorned lover still damp with her perspiration. Usually she woke to the sound of her mother heating milk in the kitchen or clattering pans as she baked, but only silence met Zahra’s ears. Once her feet slid into the worn cotton slippers at the foot of her bed, she stood and faced the heat like a warrior. Miriam was not in her bedroom, where she sewed loose prayer dresses in flowery patterns. She was not in the kitchen, where she spent her time with the bags of cumin, coriander, and cardamom, combining these lovers into Dukkah mixtures and Mulukhiya. And she was not in the living room, where Baba’s clocks ticked the seconds of a new day.
Zahra looked out the balcony window at the pyramids—sentries that hovered in the distance, reminders of the toil of her people. At the glass, she pressed her palm against the warm window. Zahra judged by the missing grocery bags that her mother would not return for at least four hours… enough time to take a risk, to prove that Zahra owned those wonders as much as any other Egyptian.
Kelly Ann Jacobson is the author of the novel Cairo in White. She recently received her MA in Fiction at Johns Hopkins University, and she is the Poetry Editor for Outside In Literary & Travel Magazine. Her young adult novel, Dreamweaver Road, is forthcoming from Books to Go Now, and Three on the Bank, her novella, was a finalist in Iron Horse Review‘s Single Author Contest and is forthcoming from Storylandia! this summer. Her work, including her published poems, fiction, and nonfiction, can be found at www.kellyannjacobson.com.
Find a copy of Cairo in White at Musa Publishing or any major online bookseller.
Filed under: Announcements, Fiction, Nonfiction, Poetry, Post by: Sheryl R, Uncategorized
For those of you in Seattle for the AWP conference, don’t forget the So to Speak reading today, Saturday, March 1, from 3 PM to 5 PM! Our reading features poetry by Laura-Gray Street, fiction by Jessica Barksdale, and nonfiction by Tim Denevi and takes place at the Pine Box, a restaurant and bar located only a half-mile from the Washington State Convention Center at 1600 Melrose Avenue, Seattle, Washington 98122. We’d love to celebrate great feminist writing and have a drink with you! Most importantly, you’re not going to want to miss the line-up!