Fall Submission Period Starts Today!

Listen up, y’all!

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!

StS Editors

2014-2015

 

 

 

How We Can Number Up: Sheila McMullin Continues Her Discussion on VIDA Count 2013

In 2012 The Paris Review dedicated a very small slice of its pie to writings by women. Fortunately, they took notice of their VIDA pie chart and rang the alarms. This past Count showed The Paris Review to acknowledge and celebrate more quality writing by women.

This is the work of The VIDA Count: to reveal an overall systemic problem and encourage a proactive change in how our leading publishing magazines and journals represent empathetic culture.

Former StS reader and blogger, now VIDA Count Coordinator, Sarah Marcus, says, “I believe that feminism is my responsibility, and being a part of VIDA has meant that I have another opportunity to support and advocate in a way that effectively changes public opinion and creates a positive academic support system for women and female identified people. We spend a great deal of time exposing the literary publishing reality, talking about inclusivity, and thinking about ways to bring our community into a compassionate and empathetic space where diverse and important voices are represented. I am accountable for ensuring that everyone has the same opportunities. Being part of VIDA also means that I am surrounded by a group of dedicated, inspiring, supportive, and empowered women, cisgender, and  non-gender normative people who are working towards a meaningful and common goal. I see this as win, win, win for me personally and for the greater literary public.”

If you would like to be a part of the social revolution working toward gender parity in publishing, here are lots of things you can do:

● It’s an old saying, “Knowledge is power.” Now you know, how will you respond? First and foremost we need to start a dialogue about these numbers on large scale terms. That is why VIDA has recently launched our member-supported private forums, as a troll-free environment for people to speak about diversity, respond to the numbers, and also (maybe most importantly) meet new allies. To learn more about participating in our forums visit here.

● Some concerned writers have cancelled subscriptions and written letters demanding change to editors whose numbers showed to be very problematic. Read Lorraine Berry’s open letter to Harper’s for inspiration and tips on language usage.

● If writing a letter or cancelling your subscription isn’t for you, you might consider exercising your purchasing power to buy a subscription to a journal who IS actively concerned with gender parity and diversity within their pages. Consider Ninth Letter, The Missouri Review, n+1, and The Gettysburg Review, Callaloo, and the list goes on. Purchasing a subscription from these journals will help them continue to do their good work.

● Beware of the gender diversity on your own bookshelves. Be active in broadening the range of stories in your home.

● Read what others have to say about VIDA in the press and start forming your own unique opinions on how you would like to react to gender inequality in all sectors, not just within the literary community.

● VIDA’s mission focuses on gender diversity, but is also concerned with ethnic, racial, sexual (among many other identifications) diversity and wants you to contribute to the conversation of planning how to accurately count writers of these identifications in the journals VIDA currently tallies.

● Submit your work! This cannot be reinforced enough! Write your stories! Share your stories! Submit, revise, submit again women, men, trans*, people of color, EVERYBODY!

This past AWP Seattle, the Peripheral Visionaries: Taking Action to Cultivate Literary Diversity panel with The VIDA Count Director, Jen Fitzgerald, Tin House editor Rob Spillman, Laura E. Davis (of Weave Magazine and Submission Bombers), and poet Ross Gay spoke to our cultural obligation as editors, publishers, and readers to demand gender parity in the material we purchase.

Rob Spillman took a deeper look at our obligations as writers to challenge social constructs that may feel prohibitive when considering publication. This is a loose quote, but he said to the effect that when he sends out encouraging rejection letters (with a major emphasis on encouraging meaning: please, please submit again!) 100% of the men resubmitted work, while only around 50% of the women resubmitted.

We are facing multilayered, complex sexism deeply ingrained into our culture. Spillman wasn’t saying that women just need to submit more, and that’s that. He was speaking to a dark nurturing our society promotes in the psyches of many of our women. On large scales, women are not socialized to be as confident as men. This is not to say, women are not confident. Remember that.

Hearing Spillman’s anecdote shot me into submission action, and fellow women, I hope it does the same for you. Submitting takes bravery, and you are brave.

Stop by the VIDA website for our latest articles, which are published on a rolling basis (contact aking@vidaweb.org with a proposal if you are interested in writing something for the site!)  Introduce yourself, tell us about your publications, ask questions and for advice, participate and mentor! You are welcome at VIDA!

If you missed Part I, be sure to read Sheila McMullin’s Why We Should Number Up

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Sheila McMullin runs the feminist and artist resource website, MoonSpit Poetry, where a list of her publications can also be found. She is the Website Assistant for VIDA: Women in Literary Arts and Contributing Editor of poetry and the blog for ROAR Magazine. Her chapbook, Like Water, was a finalist for the Ahsahta Press and New Delta Review chapbook competitions, as well as a semifinalist in the Black Lawrence Press chapbook competition. She works as an after-school creative writing and college prep instructor, and volunteers at her local animal rescue. She holds her M.F.A. from George Mason University. Follow her @smcmulli.

 

Hibernaculum: Dissecting Story and Fable like an Animal

March 30, 2014 by So to Speak · Leave a Comment
Filed under: Poetry, Post by: Sheila M, Reviews 

The hush of cold greets us in the opening circus of Hibernaculum. A family in winter navigates through the chatter of its children, young adults, and older adults. Firm boundaries between each age-restricted grouping of relatives provides our speaker a way into understanding her changing role as a woman in the culture of her family. Our attention begins to narrow onto our speaker who fights to come into her own and be her own type of girl through the re-imagining of yonder tales. Poet Sarah E. Colona, dissects story and fable like an animal in her first full-length collection from Gold Wake Press (2013).

Divided into three sections, Hibernaculum is not a resting place for the animal or storyteller in us all. The first section is full of familial musings, some written at a slant digging into a deeper pain as in “Custody of Ghosts,” and some beautifully tender as in “Visiting John, 1990.” In this piece our speaker visits her brother in the hospital along with her parents. Too ill the boy cannot be touched, and the gift they bring for him as a guarantee he will be leaving those sterile conditions cannot be left with him. Soon our speaker begins to see herself as a twin in those around her. As a reflection in a mirror, in statues, in a dead girl, our speaker whispers to be noticed feeling a futility in her efforts as well. Here we begin to uncover what slinks into our rooms after all the lights are turned out, and enter a ramping toward the surreal.

Section Two goes Grimm, goes ancient Greek, and fills us with the dark fables we learned young. As adults we re-experience these stories with acute awareness of our growing skepticism of fantasy in the shadows penetrating our daily lives, and yet the soft animal inside is still quivering.

Colona has an intriguing ability to move between disparate periods of storytelling, placing a poem inspired by Jean Cocteau’s Beauty and the Beast next to a piece on Psyche. She doesn’t conflate the two but connects them through a female voice that seems to transcend time. Through an empowered female voice, the characters Colona embodies provide an alternative context to the story surrounding them and the unflinching myth they’ve been transformed into.

I found “Cruelty,” the last poem in the section, to be a kind of Ars Poetica for Hibernaculum.

make no mistake

stories are predators not pets

But we long for company

Here Colona conflates the mythic with the contemporary. She moves in and out of danger constantly confronted in stories; not only in fictional tales we read, but through the news we hear on television. This poem confronts the temptation, danger, and hatred reflected in stories mirroring our lived experiences. Our speaker, by the end, tames the beast, Story laid its head in my lap/ and purred encouraging an effort to remember there is still decency in the world.

The third and final section brings us back home. We return to the present day engulfed by scenery, this time haunted, not by myth or fable, but by anger and regret. And this section comes out swinging, carrying some heavy fist-pumping anthems. Here we navigate perception and Colona opposes the categorization of women specifically based on gender. She calls out that hypocrisy in poems like “Another Round with Loneliness,” “Have At,” and “The Little Engine that Did” forthrightly. But also examines closely one’s inherent hypocrisy as in “That Girl We Killed” and “Bitch.” We end in the stories we create of ourselves, not to become mythologized stone, but to lean toward an empathetic understanding of what is around us and how we’ve framed our love.

Sarah Colona is currently at work on a new collection poetry, That Sister, and a novella based on Burlington New Jersey (her hometown) folklore and history. Hibernaculum is available on Amazon.

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Sheila McMullin runs the feminist and artist resource website, MoonSpit Poetry, where a list of her publications can also be found. She is the Website Assistant for VIDA: Women in Literary Arts and Contributing Editor of poetry and the blog for ROAR Magazine. Her chapbook, Like Water, was a finalist for the Ahsahta Press and New Delta Review chapbook competitions, as well as a semifinalist in the Black Lawrence Press chapbook competition. She works as an after-school creative writing and college prep instructor, and volunteers at her local animal rescue. She holds her M.F.A. from George Mason University. Follow her @smcmulli

The Origins of The Frog Prince

March 16, 2014 by So to Speak · 1 Comment
Filed under: Nonfiction, Poetry, Uncategorized 

Poet Kelly McGannon on the origins of her poem The Frog Prince:

In my family, we tell stories to tell stories. It’s the way of things. We joke that it’s a cultural norm in our slice of Appalachia. How else is your listener going to know you have something to say? You must cue them in with the opener before you usher in the main act.

Mother’s voice in my ear redirects my attention. “Listen. Gabbow’s tellin’ now.”

“So, I says to the boy, “Youns think youns are gonna fly with that flying thing? Bah! Only birds and brothers fly. And that’s how your Uncle Babe got away from the Klan when they was a-chasin’ him with their white sheets. He flew down that road so fast that they couldn’t see him no more. They didn’t like Hunkies and Catholics like us.”

At five, I learned to hug the midline between my Irish and Slavic halves. It’s not easy to weave together tales punctuated by old language hooks when your small teeth are still cutting your native tongue. Don’t know what the words mean? Follow an immigrant’s path: Make up as you go. Give voice to what breathes around you. Remember that your audience is always listening.

“Tell me something I don’t know.”

“Where did Sam get that green eggs and ham?”

“What was Tito planning to do with those jars full of eye balls?”

It takes time to wag a tongue in the expected cultural rhythm. You have to know when to pause for effect. When to grow a voice big. When to take a bite of cold meringue whipped pie and sip your pop for effect. And, most importantly, when to take the hand of a grandmother who makes room for you at the table and says,

“Youns! Kelly has something to say and youns are a-gonna listen.

Now, child, go on now. Tell us.”

She picks up her fork to snatch the last sliver of almond in the tin pie plate.

“Well, um, there was this tree and a blue dog…”

[Adults smirk and smile. The Child notices. Eyes shift. The Child’s right leg jiggles nervously when she opens her voice again.]

“And the moon came down to take the dog for a walk and the tree came along ‘cuz it was bored.”

[Adults laugh. Child feels encouraged but is still shy.]

My people love a good story. I bet yours do too. If your people are like my people, then you have to sell it. Make it come alive for them. Pull the right bait out from your tackle box of words. Toss out a few lines. See what bites.

“Quiet, youns! She’s a-telling us something.

Why was this tree bored?”

[Adults lean in. Eyes blink with interest. The generational veil drops and all are children again.]

“The moon and tree are teaching the blue dog how to sing better. The tree knows someone who knows someone, so they’re all gonna go find him. The tree says to follow the noisy winds. They know they way. And, they sing them all to the man who lives behind the bridge that’s lit with fireflies. He knows how to howl and he teaches the dog a new song with a whistle in it, which made the moon so happy that she shone brighter than the sun. And they all lived happily ever after, especially the dog and moon who learned new tricks.”

[Adults are quiet now. Child’s eyes shine with light.]

When spinning magic with magic words, you can’t croak. You can’t let the frog in your throat stop you. You gotta sing, even if your voice competes against others’ songs. Even if it gets drowned out by the competition. Even if it’s rejected. Even if….

“Good girl! Now, youns, wasn’t that a good story? “Noisy winds?” Clever and true.”

[Adults nod seriously. Child feels satisfied. Glows on the inside.]

“Now, what was it youns was a-gonna tell us?”

The Frog Prince [Title]

I sit in my bed,

an amphibious sprite,

Wet from the bath,

Wetter still from the thick humidity

Captured by my spider-grass body.

 

It feels so real that I wonder

If this human body is just a dream.

 

Maybe I really sit on a lily pad

In the darkness

And croon with the crickets.

 

I’m singing my heart out

down there

rhythm making

against the competition,

tangling up in discordant chords

and hopeful.

 

I observe a tower from my squat

And wonder when its lady

Will get curious enough

To come down for a kiss.

 

When she does, I plan

To smack her with my lips

And pull her in

Just like any other

Tasty morsel.

 

In her gasped surprise,

I will allow the best parts of her

To slither down my throat

And into the blue fire of my belly,

 

Even though she’ll probably

Recoil and wipe the luscious slime

Off her pretty, pouty mouth.

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Kelly McGannon is a professional writer and shamanic healer living in the Washington D.C. metro area. A graduate of Yale and Princeton Universities, her creative writing has appeared in DreamTime magazine and is forthcoming in Outside In.

 

Pine Box Reading in Seattle Tonight!

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!

 

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