Griffin Poetry Prize

GLYPHÖRIA - Translating Language and Sound Special Issue
2023-01-01 23:59 (America/Toronto) | Online
GLYPHORIA: TRANSLATING LANGUAGE AND SOUND
CURATED BY ELI TAREQ EL BECHELANY-LYNCH
Performance has often been a second thought for many writers. The focus has often been on the written word, rather than what the work might sound like reading out loud. Spoken word poets, of course, have often cared more about what the poem sounds like performed than what it looks like on the page.
The GLYPHÖRIA special issue, Translating Language and Sound, attempts to merge these two concerns, making both performance and page equally important. This issue wants to think through the ways literary work can function off the page, in the world, in translation, in mutation.
In particular, Translating Language and Sound is looking for submissions of sound poetry, multimedia literature, performed fiction that blurs lines, translations that thinks beyond the written word. I’m looking for playful work, funny work, experimental work that strays beyond traditional poetry and prose to bring the work to new life. Collaborations between writers and sound artists/musicians are extremely welcomed and encouraged.
This issue is trying to expand the definition of translation to move beyond the task of changing the language of the work but rather, to change the experience of the work, the feeling of the work, to expand beyond the single author into a collaborative space. Work in translation is extremely welcome but if you are translating in a traditional sense, try to approach the presentation of the work in new and interesting ways, always thinking about multi-media approaches.
We’re also interested in collecting written poetry that concerns itself with sound, where the lyricism and sound of the words feel like they’re jumping off the page. Please send a written description of your proposed project and examples of your written work as well as examples of your possible collaborators’ sound/video/multi-media work. I’m happy to collaborate with the authors I chose and therefore, the project can be something we figure out together, but please have an idea and plan in mind that we can work towards.
Work by Francophone writers will also be considered.
COMPENSATION
All accepted submissions to GLYPHORIA will be compensated.
ABOUT ELI
Eli Tareq El Bechelany-Lynch is a writer living in Tio’tia:ke. Their work has appeared in The Best Canadian Poetry 2018 anthology, The New Quarterly, Arc Poetry Magazine, and elsewhere. They were longlisted for the CBC poetry prize in 2019. Their book, knot body (2020), published by Metatron Press, was shortlisted for the QWF Concordia First Book Award, and their second book, The Good Arabs, published by Metonymy Press in 2021, was granted the honorary mention for poetry by the Arab American Book Awards and won the Grand Prix du Livre de Montreal. They are an acquisitions editor at Metonymy Press. They are currently translating Gabrielle Boulianne-Tremblay’s La fille d’elle-même from the French, forthcoming Fall 2023. With co-editor Samia Marshy, they are editing El Ghourabaa, an anthology of weird and experimental queer and trans writing by Arab and Arabophone writers.
ABOUT GLYPHORIA
GLYPHORIA is a literary cyber environment designed to optimize the emotional gravity of poetry online through the exhibiting of contemporary multidisciplinary poetry. How do we mark poetry upon the pixelated walls of the internet in new ways? What if there were a space where traditional and contemporary publishing could seamlessly co-exist, merge, and cross-fertilize to inspire a new generation of literary art forms? If traditional poetry imagined itself on walls, or in print, on paper, bound ~ GLYPHORIA imagines itself as exploring the marking of meaning and presence on ephemeral digitalia. Via a series of guest-edited issues, GLYPHORIA will fuse multimedia poiesis within a living archive of glyphilic poiesis, orchestrating an immersive conversation between various forms and formats. Inspired by the glyph, the most ancient form of written communication, GLYPHORIA reimagines how we publish, share literature and pollinate digital chasms in the 21st century. It is our hope to engage poetry in its current iterations~ influenced and created within the technological age, its pixels and echos and glitches. Together we will bring collaborative poiesis and emotional gravity to our ambient networks and clouds.
ABOUT METATRON
GLYPHORIA is a new project brought to you by Metatron Press. Metatron Press (2014) is an award-winning literary publisher that specializes in publishing contemporary writing by new and emerging authors. We seek out and publish brave and emotionally-resonant, subversive work that both challenges and informs a new direction and style of writing and publishing. Metatron Press pushes relevant and complex conversations into the public sphere, publishing uniquely and definitely contemporary writing while exploring—through our print publications—urgent conversations. Our books are notable for their beautiful design, edgy weirdness, heartfelt vulnerability and at-times difficult subject matter. We are not afraid to publish work that advances our human understanding of one another. We are known for our unique and distinctive pocketbooks of poetry and short fiction (short stories, novellas and novels), although we are also known to support new hybrid forms of literature. Our works are firmly cemented in the here and now, and allow authors space to experiment and innovate with their writing.
We are based in Montréal on unceded Kanien’kehá:ka territory.

McClelland & Stewart: Reading Period Opens
2023-01-01 | Online
McClelland & Stewart is excited to open our submission policy as part of our ongoing commitment to amplify the voices of Black, Indigenous, and racialized writers, as well as those of other traditionally underrepresented communities. Effective immediately, unsolicited and unagented work can be sent directly to editors within the M&S division at mcclellandsubmissions@prh.com. Our hope is that this will go a small way toward removing some of the barriers that have existed for writers developing their craft outside of the traditional avenues of literary exposure.
M&S Submissions Best Practices
To help you get your work to us in a way that makes it as easy as possible for us to get back to you as soon as we can, we’ve put together some guidelines and tips for submitting a manuscript or book proposal. Every publishing house is different, but here’s what we like to see at M&S.
What We’re Looking For
In particular, our editors are looking for high quality literary fiction, non-fiction, and poetry. We encourage you to visit our about us page to learn more about our mission and the books we publish. Please note that we do not accept screenplays, stage plays, young adult fiction, or picture book queries. You can take a look at the work we publish here.
Please note that poetry submissions will close for the year on April 30. We will open for poetry submissions again on January 1, 2023.
What We Love to See
Although you don’t necessarily need to include all of these elements, a great submission typically includes:
A strong letter of intent that tells us about your project
A list of a few book comparisons (“comps”) that gives us an idea of the literary company in which you see your project living. These don’t need to be perfect matches, just some of the work that you love and that you feel has a kinship to your project.
A bio! Tell us about you and why this project means so much to you.
The work. As much of the work itself as you’re able to share with us, either as a .doc attachment or a PDF. For fiction and poetry, we encourage you to submit the full manuscript. For non-fiction, we typically expect to see a preliminary chapter list with a short one to two sentence blurb about each chapter to give us a sense of how you plan to address your topic, along with a writing sample.
What Happens Once You Submit
Our editorial team will discuss your submission and get back to you within four months if we’re interested in the project.
Due to the volume of submissions we receive, we won’t be able to respond to every submission, but please know that each submission will be read and considered with care.
Frequently Asked Questions
Q: How long should a submission be? Is there a maximum or minimum word requirement?
A: For a full manuscript, there are no strict restrictions on length. As a guideline, fiction and non-fiction works often fall between 80,000 and 100,000 words. For poetry, 7,000 to 10,000 words is ideal (about seventy pages and up). If you are submitting a proposal, a writing sample of at least ten pages in addition to your chapter list and letter of intent would be perfect.
Q: Is there a deadline to submit my work? Does the submission process close for any length of time throughout the year?
A: No, the submissions inbox is open year-round. Work can be submitted to mcclellandsubmissions@penguinrandomhouse.com at any time.

Q: Can I submit more than one project to this address?
A: To monitor the volume of the inbox, we recommend submitting one work per genre (ie. if you have a fiction and a poetry manuscript, feel free to submit both).

Q: Can I submit if I do not have Canadian citizenship?
A: At the moment, we don’t see a need for any restrictions based on citizenship or residence. The submissions inbox will be open to anyone.

Q: Are there any types of work that you do not accept?
A: At McClelland & Stewart, we do not accept screenplays, stage plays, young adult fiction, or picture book queries. In particular, our editors are looking for high quality literary fiction, non-fiction, and poetry. You can take a look at the work we publish here.

Q: Do you allow simultaneous submissions?
A: Yes, simultaneous submissions (sending your manuscript to multiple agents and/or publishers) are absolutely permitted. If you receive offers of representation or publication for your work during our twelve week consideration period, we just ask that you let us know via mcclellandsubmissions@penguinrandomhouse.com.

Toad Press: Translation Chapbook Series
2022-12-31 23:59 (America/Toronto) | Online
Toad Press accepts open submissions of chapbook-length TRANSLATIONS for the International Chapbook Series each year between October 15 and December 31.

Please upload your entire submission—a cover sheet with your name and contact information, table of contents (if applicable), ~14-24 pages of poetry or prose, and acknowledgments page (if applicable)—in a single file.
Toad Press publishes between 1 and 3 chapbooks a year. Chapbooks accepted for publication will appear the following Summer/Fall. Payment is in copies only.
Questions? Check out the FAQ’s on our website ( https://toadpress.blogspot.com/p/faqs.html ) or send us an email at toadpress (at) hotmail.com.
The Toad Press International Chapbook Series publishes contemporary, exciting, beautiful, odd, and avant-garde chapbook-length translations of poetry and prose. Toad Press is an imprint of Veliz Books. Toad Press chapbooks are edited and published by Genevieve Kaplan & Sean Bernard.
About our submission options:
$0 – no reading fee
$6 – reading fee only
$10 – submit + choose a chapbook (see list below), for US addresses only
$12 – submit + choose a chapbook (see list below), for mailing addresses outside the US
Thank you for choosing to submit your work to us!

2022 Columbia Journal Print Contest Deadline
2022-12-31 23:59 (America/Toronto) | Online
2022 Columbia Journal Print Contest – Submissions Open from December 15 to December 31, 2022
The Columbia Journal is delighted to announce that the 2022 Print Contest will accept submissions in fiction, nonfiction, poetry, and translation from December 15 through December 31, 2022. Our judges this year are Jonathan Escoffery (fiction), Qian Julie Wang (nonfiction), Diana Khoi Nguyen (poetry), and Valzhyna Mort (translation).
The four first place winners of the Print Contest will be published in print in Columbia Journal’s 61st issue in the summer of 2023 and will receive a $400 cash prize each. At least two additional finalists will be selected and announced for each genre.
Starting December 15, all entries will be accepted via Submittable for a $15 fee per submission. The deadline to submit is December 31, 2022.
DATES:
Our submission window will be open from December 15 to December 31, 2022.
FEES:
Entry to the 2022 Print Contest will be accepted via Submittable and requires a $15 entry fee, which helps subsidize the contest and our magazine at large.
COMPLETE GUIDELINES:
The four winning artists will receive $400 and have their work published in Columbia Journal’s 61st issue, to be released in the summer of 2023. Some finalists may also be published in the issue or online.
Multiple submissions are welcome, but note that the entry fee applies to each submission.
Fiction and nonfiction submissions must not exceed 5,000 words. Poetry submissions must not exceed 5 pages, and must not exceed three poems.
The contest entrant’s name should not appear anywhere on the submitted file. In addition, because we share files electronically, it is the entrant’s responsibility to ensure other identifying notations, including references in the document’s properties and title, are not present.
Contest finalists are blind judged to select prize winners.
All work must be submitted through Submittable. We will not accept mailed or emailed submissions.
All work must be original and previously unpublished in any form.
Simultaneous submissions are allowed, but please inform us immediately if your work is accepted elsewhere.
Submissions may not be modified after entry. The Columbia Journal, however, reserves the right to suggest edits to the winning story as well as to finalists’ and semi-finalists’ work that they are interested in publishing.
Contest entrants cannot have studied or taught at the Columbia University Writing Program at any time in the past three years.
If you have questions, please email us at publisher.columbia@gmail.com.
ABOUT OUR JUDGES:
FICTION: Jonathan Escoffery
Jonathan Escoffery’s debut story collection, If I Survive You, which was long-listed for the National Book Award and the Andrew Carnegie Medal for Excellence, and is a finalist for the Southern Book Prize and a Golden Poppy Award. Jonathan also is the winner of The Paris Review’s 2020 Plimpton Prize for Fiction and is the recipient of a 2020 National Endowment for the Arts (Prose) Literature Fellowship. His stories have appeared in The Paris Review, Oprah Daily, Electric Literature, Zyzzyva, AGNI, Pleiades, American Short Fiction, Prairie Schooner, Passages North, and elsewhere. Jonathan has taught creative writing and seminars on the writer’s life at Stanford University, the University of Minnesota, the Center for Fiction, Tin House, The Work Room, The Porch, and at GrubStreet in Boston. He is a graduate of the University of Minnesota’s Creative Writing MFA Program (Fiction) and attends the University of Southern California’s Ph.D. in Creative Writing and Literature Program as a Provost Fellow. He is a 2021-2023 Wallace Stegner Fellow at Stanford University.

NONFICTION: Qian Julie Wang
Qian Julie Wang is The New York Times bestselling author of Beautiful Country and a civil rights litigator. A graduate of Yale Law School and Swarthmore College, Qian Julie is managing partner of Gottlieb & Wang LLP, a firm dedicated to advancing education, disability, and civil rights on behalf of marginalized communities. Her writing has been published in The New York Times, The Washington Post, Elle, Harper’s Bazaar, and The Cut, and she has appeared on the TODAY Show, MSNBC, and NPR. She lives in Brooklyn with her husband and their two rescue dogs, Salty and Peppers.

POETRY: Diana Khoi Nguyen
A poet and multimedia artist, Diana Khoi Nguyen is the author of Ghost Of (2018) and recipient of a 2021 fellowship from the National Endowment for the Arts. In addition to winning the 92Y Discovery Poetry Contest, 2019 Kate Tufts Discovery Award, and Colorado Book Award, she was also a finalist for the National Book Award and Los Angeles Times Book Prize. A Kundiman fellow, she is core faculty in the Randolph College Low-Residency MFA and an assistant professor at the University of Pittsburgh. In the spring of 2022, she was an artist-in-residence at Brown University.

TRANSLATION: Valzhyna Mort
Valzhyna Mort is a poet and translator born in Minsk, Belarus. She is the author of three poetry collections, Factory of Tears (2008), Collected Body (2011) and, most recently, Music for the Dead and Resurrected (2020), named one of the best poetry book of 2020 by the New York Times and NPR, and the winner of the 2020 International Griffin Poetry Prize and the 2022 UNT Rilke Prize. Mort is a recipient of fellowships from the Guggenheim Foundation, the American Academy in Rome, the Lannan Foundation, and the Amy Clampitt Foundation. Her essays and poetry have appeared in The Best American Poetry, The New Yorker, The New York Times, The Financial Times, Poetry, Poetry Review, Granta, The White Review, The Baffler, and many more. Mort teaches at Cornell University and writes in English and Belarusian. She translates between English, Belarusian, Russian, Ukrainian, and Polish. She has received the Gulf Coast Prize in Translation and the National Endowment for the Arts grant in translation for her work on Polina Barskova’s book of selected poems, Air Raid (2021). Valzhyna Mort’s Belarusian books are Я тоненькая як твае вейкі (2005), Эпідэмія Ружаў (2017), and Песні Для Мёртвых і Ўваскрэслых (2022).

The Moth Poetry Prize 2022 Deadline
2022-12-31 | British Columbia
Louise Glück, Nobel Prize Laureate and past Griffin Poetry Prize finalist, will judge this year’s Moth Poetry Prize, which is now accepting entries!

The Moth Poetry Prize is one of the biggest prizes in the world for a single unpublished poem. The prize is open to anyone, as long as the poem is previously unpublished.

The overall winner will receive €6,000, while the three remaining shortlisted poets will each receive €1,000. A further eight poets will receive monetary awards of €250.

Deadline to submit - Beyond the Park: An anthology of ecological experiences
2022-12-30 22:00 (America/Edmonton) | Online
This is the third anthology from the Beyond Series by Laberinto Press. This Call for Submissions invites contributions on the theme of green spaces and olfactory experiences.
Parks as ecological sites exist within an urban and governmental plan that delineate their function and existence. The environment itself exerts its own meaning and rhythms on the idea of the park. Spending time in a park stimulates our senses, in particular the sense of smell. The aroma of pine and linden trees, the ground under our feet, or the water from a fountain, a lake, or a river, activate our olfactory memory. Thanks to the sense of smell, we bring back forgotten moments, unearthing experiences lodged deep in our subconscious.
We identify ourselves with multiple ecosystems; their aromas permeate our memory. In turn, this convergence informs our living, real or ideal spaces. Climate change, growing deforestation world-wide, and greater population density make green spaces sites of refuge.
From the literary point of view, the submission will emphasize olfactory imagery, while the content will relate to the environment, migration, and climate change. We invite immigrant writers, to express themselves on their connections between the idea of green spaces, and all things olfactory. How do we understand our experience of nature in our countries in combination/opposition to the Canadian context? What effect do these encounters have on us? What is our first olfactive memory from our arrival in Canada or from our place of birth?
What other ecological spaces can we conceive in our cities?
Submission Guidelines:
We are inviting hyphened Canadian writers of immigrant background, regardless of their status.
We accept texts written in French or English translation.
We will accept one contribution per author. The text will have between 1,300 and 2,600 words (Times New Roman, Size 12, Double Spaced).
We accept all genres, except for poetry, unless it is integrated within the text of the submission.
The submission deadline is December 30th, 2022 at 10:00 PM. Late submissions will not be considered.
The submission process will result in the selection of 9 (nine) final pieces.
If their contribution is selected, the authors accept they will be working through the line, structural, and copy-editing process with the corresponding editors.
Submit your contribution to:
C/O Editors: Beyond the Park Anthology
Luciana Erregue: erregue@ualberta.ca
Ángel Mota Berriozábal: angel.mota@sympatico.ca

Message from Laberinto Press Founder Luciana Erregue-Sacchi

In a largely primarily anglophone and Anglo-centric publishing industry, Laberinto Press is Western Canada’s first press to publish writers whose first language is not English, and World Literature in translation (focusing right now on tapping into diaspora authors living in Canada).
I am uniquely positioned as a Canadian-Argentinian writer and editor with knowledge of the Canadian literary world. I spotted the need to produce literature by culturally diverse writers that do not pander to tokenism, but touch on the true diversity, multiplicity, and complexity of the human experience.
There are many writers like me in Canada, waiting to have their stories published in English, who want to share their stories, background, and international networks with the Canadian public, now more culturally diverse than at any time in its history.

How to Be Haunted: Poets of the Between
2022-12-20 18:00 - 20:00 (America/Vancouver) | The Beaumont Studios, 326 West 5th Avenue, Vancouver, BC, V5Y 1J0, Canada
On Tuesday, December 20 at 6pm, join Massy Arts Society, Massy Books and The Beaumont Studios a stunning line-up of writers critical for our times in How to Be Haunted: Poets of the Between—featuring Cynthia Dewi Oka, Hari Alluri, Cecily Nicholson and Mercedes Eng.
From ghosts through declassified documents to pulses of childhood memory, these authors weave lyrical connections between their lived experience, the histories they carry and words that echo throughout time.
This project has been made possible by the Government of Canada. Ce projet a été rendu possible grâce au gouvernement du Canada.
Venue & Accessibility
Registration is free, open to all and required for entrance.
The event will be hosted at the The Beaumont Studios, at 326 West 5th Avenue. The building is located 2 blocks east of the Olympic Village skytrain station with bus stops running along 2nd Avenue.
This venue has ramps, with approximately 6 feet of astroturf-like flooring at the entryway which some wheelchair users may find difficult. Staff will be available to provide assistance. There is a wheelchair-accessible and gender-neutral washrooms is on-site. Please refrain from wearing scents or heavy perfumes.
Covid Protocols: Masks keep our community safe! While masks are mandatory at Massy Books & Arts Society, we cannot enforce this protocol at The Beaumont. We encourage N95 masks as they offer the best protection and will have masks available at the door. If you are showing symptoms, please stay home—thank you kindly.
The Authors
Cynthia Dewi Oka is the author of four books of poems, most recently A Tinderbox in Three Acts (BOA Editions, 2022) and Fire Is Not a Country (Northwestern University Press, 2021). A recipient of the Amy Clampitt Residency, Tupelo Quarterly Poetry Prize, and the Leeway Transformation Award, her writing has appeared in The Atlantic, Oprah Daily, POETRY, Academy of American Poets, Poetry Society of America, Hyperallergic, Andscape, and elsewhere. An alumnus of the Warren Wilson MFA Program for Writers, she has taught creative writing at Bryn Mawr College, New Mexico State University, Blue Stoop, and Voices of Our Nations (VONA). Originally from Bali, Indonesia, Cynthia worked as an organizer, trainer, and fundraiser in social movements for justice that center the experiences of the global majority for fifteen years. She lives in Los Angeles.
Hari Alluri (he/him/siya) is a migrant poet of Filipinx and South Indian descent on unceded Coast Salish territories of the Musqueam, Squamish, and Tsleil-Waututh peoples and Kwantlen, Katzie, and Kwikwetlem lands of Hən̓q̓əmin̓əm̓-speaking peoples. Recipient of the Vera Manuel Award, he is author of The Flayed City (Kaya) and chapbooks The Promise of Rust (Mouthfeel) and Our Echo of Sudden Mercy (Next Page Press), writer-director of Pasalubong (NFB/ONF), and co-editor of We Were Not Alone (Community Building Art Works). Siya has received grants, fellowships, and residencies from the BC Arts Council, Canada Council for the Arts, The Capilano Review, Deer Lake, and others. His work appears through these venues and elsewhere: Dream Marrow catalogue (exhibit—on now at Burnaby Art Gallery), Poetry, PRISM International, and—via Split This Rock—Best of the Net 2022.
Cecily Nicholson is the author of four books and a past recipient of the Dorothy Livesay Poetry Prize and the Governor General’s Literary Award for Poetry. She was the Ellen and Warren Tallman Writer-in-Residence at Simon Fraser University and the Write- in-Residence at the University of Windsor. She teaches at Emily Carr University of Art + Design and collaborates with community impacted by carcerality and food insecurity.
Mercedes Eng is the author of Mercenary English, Prison Industrial Complex Explodes, winner of the BC Poetry Prize, and my yt mama. Her writing has appeared in Hustling Verse: An Anthology of Sex Workers’ Poetry, Jacket 2, Asian American Literary Review, The Abolitionist, r/ally (No One Is Illegal), and Survaillance and M’aidez (Press Release). Mercedes is the Writer-in-Residence and a Shadbolt Fellow at Simon Fraser University.

The Books
A Tinderbox in Three Acts by Cynthia Dewi Oka–elected by Aracelis Girmay–is at once elegy and exegesis, fact and invention. In her fourth poetry collection, Cynthia Dewi Oka performs a lyric accounting of the anti-Communist genocide of 1965, which, led by the Indonesian military and with American assistance, erased and devastated millions of lives in Indonesia. Under the New Order dictatorship that ruled by terror for over three decades in the aftermath, perpetrators of the killings were celebrated as national heroes while survivors were systemically silenced. Drawing on US state documents that were only declassified in recent years, Oka gives form and voice to the ghosts that continue to haunt subsequent generations despite decades of state-produced amnesia and disinformation. In service of recovering what must not be remembered, A Tinderbox in Three Acts repurposes the sanitized lexicon of official discourse, imagines an emotional syntax for the unthinkable, and employs synesthetic modes of perception to convey that which exceeds language. Here, the boundary between singular and collective consciousness is blurred. Here, history as an artifact of the powerful is trumped by the halting memory of the people whom power sought to destroy. Where memory fails, here is poetry to honour the dishonoured, the betrayed, the lost and still-awaited.
Our Echo of Sudden Mercy by Hari Alluri searches for the tenuous places where grief and joy entwine. At turns meditative, irreverent, and tender, the poems trace these threads through multiple forms of loss—personal and familial, cultural and planetary, quiet and violent—by encountering and moving through the everyday. “We have always been the consequence of stories,” they intone. Here, attentive to the ode in downbeats of lament, Alluri finds a restorative poetry: that the incantatory in the fragmented can be heard as a form of wholeness, that displacement can become a way of being in the world, one which holds and is held by listening, by care and collaboration.
HARROWINGS connects with Black intellectual and art history in relation to agriculture. Set mainly in the rural, the poems include pulses of memoir from the poet’s childhood growing up on a farm, as well as from more recent pandemic experiences volunteering for a local agricultural enterprise led by people who were formerly incarcerated. Tropes of tradition and supremacy are confronted in this study of biome, plants, and soil. Despite episodic and chronic illness, and by way of practical tasks such as sowing, pruning, and watering, the poetry advances with love towards abolitionist futures.
my yt mama by Mercedes Eng is a collection of poems that considers historic and contemporary colonial violence in the Canadian prairies, a settler geography and state of mind that irrevocably shaped Eng’s understanding of race as person of colour born and raised in Treaty 7 Territory in Medicine Hat, Alberta. In the follow-up to her BC Book Prize-winning book of poetry, Prison Industrial Complex Explodes, Mercedes Eng continues her poetic investigation of racism and colonialism in Canada, weaponizing the language of the nation-state against itself in the service of social justice.

Fence Books: Ottoline Prize Deadline
2022-12-18 23:59 (America/Toronto) | Online
The Ottoline Prize awards publication and $5,000 to a book-length work of poetry by any person who identifies as a woman. First, second, third, fourth, and beyond books are welcome.
The author of the selected book also receives a two-week residency at Eliot House, in Gloucester, MA. The submission fee is $25, and all entrants receive a complimentary subscription or renewal to Fence.
The winner of the previous Ottoline Prize is Kim Rosenfield. Her book of poems, Phantom Captain, will be published in late 2023.
If you are experiencing financial difficulties and are unable to afford the reading fee, please write to Publishers Emily Wallis Hughes and Jason Zuzga at fence.fencebooks@gmail.com.
About the prize
The Ottoline Prize, formerly incarnated as the Motherwell Prize and the Alberta Prize, is an annual series, generously endowed by Jennifer S. Epstein, which offers publication to a first, second, third, fourth or beyond book of poems by a woman, any woman, however she chooses to define or identify herself as being a woman, and including trans-women, a five thousand dollar cash prize, and a residency at Eliot House, in Gloucester, MA. Past winners include Lesle Lewis, Chelsey Minnis, Harmony Holiday, Sasha Steensen, Laura Sims, and Ariana Reines.

Wesleyan Fall 2022 Poetry Reading Period Closes
2022-12-16 23:59 (America/Toronto) | Online
For our Fall 2022 open reading period, we invite poetry manuscript samples along with query letters. Please read through all guidelines below.
Manuscript Sample:
Poets and translators are invited to submit a 15-20 page manuscript sample accompanied by a query letter.
Please familiarize yourself with our catalog before submitting a manuscript sample.
Select a sample that illustrates the strengths and key themes of your book. You may opt to share consecutive pages or pull poems from throughout the book.
We are open to poets and translators at every stage of their career.
We welcome submissions from poets outside the United States.
Simultaneous submissions are permitted. If your manuscript is accepted for publication elsewhere, please officially withdraw it using the Submittable system.
Please submit no more than two manuscript samples per reading period.
Submissions are invited through Submittable. If you need accommodations to make the submission process accessible to you, please contact wupeditorial@gmail.com with your request. Please write “Accessibility request” in the subject line.
Query letter:
Please submit a query letter (500 words or fewer) along with your sample.
Use the cover letter to concisely describe your book to our editorial team beyond what we see in the sample. For example, is your book organized in sections? Does it have a narrative arc? Does it rely on a set of formal or stylistic elements?
Include a brief author bio. If you are a translator, include both an author and translator bio.
Translations:
We select books in this category based on the excellence of the English translation and our interest in the original text. If possible, your submission should be bilingual; we want to see the original text as well as the English translation. If this is not possible due to technical or other concerns, indicate this in your query letter.
A bilingual manuscript sample may include up to 20 pages in English, and those same 20 pages in the original language, for 40 pages total.
Indicate in your cover letter that you have identified the rights holder, unless the book is in the public domain. Ideally, a conversation regarding the rights to the book will have been engaged with the rights holder prior to your submission.
Next steps:
Your manuscript sample will be read and collectively evaluated by the press editorial team.
After reading these sample submissions, the editorial team will request full manuscripts from up to 15 poets or translators.
We will send a status update to each submitting poet or translator within six months of submission.
Please do not send your full manuscript unless you have specifically been invited to do so.
We take seriously the opportunity to consider your work for publication; at the same time, there is no guarantee that we will choose a book to publish in any given reading period.
Wesleyan University Press is committed to publishing outstanding books of poetry by outstanding poets. We offer a competitive contract, including a generous number of author copies, a substantial discount on additional copies purchased by the author, royalties paid annually and where feasible an advance against these royalties.
Thank you! We look forward to reading your work.

Wesleyan Virtual Group Reading
2022-12-11 15:00 - 16:30 (America/Toronto) | Online
Wesleyan University Press presents a virtual Sunday afternoon/evening reading with Ed Roberson, Brenda Coultas, Abigail Chabitnoy, and Will Harris. Enjoy from the comfort of your own home!
2pm CST / 3pm EST / 8pm GMT
Ed Roberson was a 2022 finalist for the Griffin Poetry Prize for his collection Asked What Has Changed, and Abigail Chabitnoy was a 2020 Griffin finalist for How to Dress a Fish.

Parkland Poets Reading Series
2022-12-08 19:00 - 21:00 (America/Edmonton) | Online
Welcome to Parkland Poets! We are a non-profit poetry society with a mission to bring more poetry into our community and to the world. Whether you are interested in Traditional Forms, Cowboy Poetry, Free Verse, Experimental Forms, Spoken Word, or any other kind of poetry, we hope that you will join us to share your own poems or to listen to the words of others.
If you are a poet or someone who appreciates poetry, we invite you to join us every second and fourth Thursday of the month.
Our Online readings are on the second Thursday of the month at 7pm MST (doors at 6:45 pm) on Zoom.
Our In Person readings are on the fourth Thursday of the month at 6 pm MST (doors 5:45 pm) at the Stony Plain Public Library.
Visit our readings page for more information. Our reading series is open to everyone and it is free of charge.
At each meeting, we will feature three members who have signed up in advance to deliver an 8 to 10-minute reading. Following our featured readers, there will be an Open Mic session, where audience members can sign up (on the night itself) to deliver a brief 2-minute reading.
You do not have to sign up in advance to read at the open mic.
Volunteers are needed as Mic Hosts each week (to MC the evening). Anyone is welcome to sign up for this role.
If you wish to sign up as a Featured Reader, Mic Host or Tech support, please visit the schedule/sign up page.
We offer training and support for all our positions.

Sixth Finch: Chapbook Submission Deadline
2022-12-06 23:59 (America/Toronto) | Online
Sixth Finch will be reading chapbook-length submissions (roughly 20-30 pages) through December 6 and we will select at least two manuscripts for publication.
In place of reading fees, we ask that you make a donation of any amount to an organization that’s doing important work right now. This link will bring you to a PayPal page where you can choose from a list of organizations to support. After completing your donation, you’ll be brought to a page with details about submitting your manuscript.
Sixth Finch is an online journal of poetry and art, founded in 2008 and updated quarterly. We are committed to bringing the best in contemporary art and poetry to readers at no cost.

Guernica Editions: Job Posting
2022-12-01 23:59 (America/Toronto) | Online
Guernica Editions is looking for a publicist to promote its books across Canada & the US. 20 hours a week. Interested candidates should send their resume and cover letter to annavanvalkenburg@guernicaeditions.com. Full details below.
Job Description

Reporting to the associate publisher, the publicist will be responsible for publicizing and promoting Guernica’s titles across Canada and the US. The publicist will be creating and executing publicity plans with the aim of securing national and regional coverage in print, broadcast, and online outlets. The publicist will manage Guernica’s social media presence with the aim of promoting its titles and building its brand.
Work is remote and flexible with occasional work outside of regular business hours and on weekends and occasional in-person meetings and events.

Summary of key responsibilities
-implement original and compelling publicity plans for Guernica’s titles
-create and edit press releases, media alerts and press kit materials
-draw awareness of our authors and new releases and work directly with media, reviewers and bloggers to promote Guernica’s titles
-build and maintain relationships with various media outlets (print newspapers and magazines, TV and radio, literary journals, digital review sites and blogs)
-work closely with authors to maximize publicity and marketing success
-pitch titles to literary festivals
-manage social media presence and create regular engaging social media content
– orchestrate author events, local appearances and pre-publication buzz
-attend and host Guernica’s in-person launches and select events as required

Washington Square Review: Deadline to Submit
2022-12-01 23:59 (America/Toronto) | Online
Washington Square Review, an award-winning journal of new fiction, creative nonfiction, poetry, translations, and interviews, is published biannually by the students and faculty of the NYU Graduate Creative Writing Program.
We are accepting submissions from October 25 to December 1.
Poetry: Submissions should not exceed five poems.
Fiction: Submissions should not exceed 5,000 words. Please submit one story per submission, and one story per submission period.
Creative Nonfiction: Submissions should not exceed 5,000 words. Please submit one piece per submission, and one piece per submission period.
Translations: Please submit both the original and the translation whenever possible.
–All submissions must be previously unpublished.
–Please click here to submit your work to us via Submittable during the dates specified above.
–We do not accept submissions via mail or email. Please share your work with us via Submittable during the dates specified above.
–Our response time is generally 2-4 months. Simultaneous submissions are acceptable. If your work is accepted for publication elsewhere, please let us know as soon as possible.
–Contributors will receive two copies of the issue in which they are published, an opportunity to purchase additional copies at half-price, and a one-year subscription. We do not offer any monetary remuneration for publication.
–Note: Current NYU students and recent (within the last 3 years) NYU MFA graduates/affiliates are not eligible to submit to Washington Square.

The Fiddlehead’s 2022 Poetry Contest: Deadline
2022-12-01 23:59 (America/Vancouver) | Online
The Fiddlehead’s 2022 Poetry Contest is now open for submissions!
One prize of $2000 CAD for best poem!
Good luck to all entrants. This year’s contest deadline is Thursday, December 1, 2022 (postmarked for mailed entries and 11:59 pm Pacific Standard Time for Submittable entries). Our judges this year are Dominique Béchard, shalan joudry, and Michael Prior.
Contest General Rules and Information:
Entries must be original and unpublished. No simultaneous submissions and no previously published (or accepted for publication) submissions. This means that an entry must not be under consideration elsewhere for publication, nor accepted elsewhere for publication, nor entered in any other contest. Work that has appeared on the internet (e.g., online magazines, blogs, or social media sites) is considered published for the purposes of this contest and is ineligible.
An entry must be the original work of the person who is submitting it and the name and contact information provided must be the author’s. Contest entries should be submitted under the author’s real name. If you use a pseudonym for your published works, you will have a chance to inform the editor of this should your work be selected by the judges
All entries must be submitted by mail or via Submittable. This year’s contest deadline is Thursday, December 1, 2022 (postmarked for mailed entries and before 11:59 pm Atlantic Standard Time for Submittable entries). No faxed or emailed submissions are allowed.
The Fiddlehead will not read work that is ableist, misogynistic, queer-phobic or racist.
No revisions or changes may be made to an entry once you have submitted it. So please carefully check your entry before you enter it into the contest.
Judging for the contest is anonymous. Do not put your name or contact information or other identifying information (e.g., publishing pseudonyms) anywhere on your actual entry. For mailed entries place your name and contact information on an accompanying cover page along with information about the submission requested below. For Submittable entries, there will be a place on the Submittable form for your name and contact information.
One poetry entry is up to 3 poems; no more than 100 lines per poem. If a poem is longer than one page, please make sure that each page is numbered and has the poem’s title in the header. Each poem should start on a new page. Poems may be single spaced. For mailed entries the title and the number of lines for each poem should be noted on the cover page. For Submittable entries, the title and the number of lines for each poem should be noted in the Submittable form.
The entry fee for your first entry depends on where you are living. If your address is in Canada, then the fee for first entry is $35 CAD. Additional entries after that first contest entry are $10 CAD. If you do not live in Canada, then the fee accounts for the exchange rate and is $50 CAD (approximately $40 USD) for the first entry and $10 CAD for additional entries.
You must submit a first entry (and pay the first entry fee) before submitting an additional entry. If you submit an additional entry without first submitting that first entry, your entry may be disqualified, and the entry fee will not be returned.
You will receive a one-year subscription to The Fiddlehead with your first entry. New subscriptions will start with the next issue published after the contest closes. Already a subscriber? — you’ll receive a one-year extension to your current subscription. Additional entries do not receive an additional subscription or subscription extension.
The Fiddlehead occasionally swaps its subscription list with other literary organizations. If you don’t wish to be included in such exchanges, please state this on your entry’s cover page.
The contest winner will be contacted directly (by either email or telephone) 2-3 months after the contest deadline. Other entrants will not be individually contacted about the results. Authors’ names and the titles of the works that make a shortlist of 10-15 will appear on The Fiddlehead website. The winner will be announced on the website and on The Fiddlehead social media spaces at a later date.
The winning entry will be published in issue #295 of The Fiddlehead and on our website. There is a publication payment in addition to the contest prize. The current publication payment rate is $60/page.
The winner will be interviewed. The interview will be published on The Fiddlehead website when the issue featuring the winning piece is published.
An entry will be disqualified (no matter at what stage in the contest process it is at), if it is discovered that an entry has violated the contest rule on simultaneous submissions, prior publication, or original authorship. The entry fee will not be reimbursed; however, the entrant will still receive the one-year subscription if the entry was an initial entry.
An entry may be disqualified (no matter at what stage in the contest process it is at), if it is discovered that the author entered that entry as an additional entry and never submitted and paid for a first entry. The entry fee will be not be reimbursed; and if a subscription was started in error, it will immediately be cancelled.
You can only upload ONE file when entering via Submittable, (pdf, doc or .docx preferred; rtfs acceptable). Do not include a cover letter or bio as part of that file. Cover letters and bios will be deleted from any entry file.
Remember only use the additional entry category IF you have already submitted and paid for a first contest entry.

Vallum Magazine: Dreams vs. Nightmares
2022-12-01 11:59 (America/Toronto) | Online
Where do dreams come from? Do nightmares stem from the same root source? What can be considered a dream or a nightmare? How do they figure in our lives, and how do we write about them poetically? Whether psychic or psychological, send us poems that speak to the theme of dreams & nightmares! Deadline: December 1, 2022. Details about the Vallum Art Prize (formerly known as the Vallum Cover Award) are available here.
Deadline: December 1, 2022
Submission fee: We charge a minimum fee of $3 per submission when submitting online. We use this fee to help cover operating costs. Any donation of $10 or greater will be issued a charitable receipt. If this amount presents a barrier to your ability to submit, please contact submission@vallummag.com.
SUBMISSION GUIDELINES
Poetry: Up to 7 pages.
Audio and video poems: Up to 3 files [Audio: MP3, Video: MP4, H.264 encoding, AAC LC audio format]
We are not accepting unsolicited reviews or essays at the moment.
Vallum is interested in original and previously unpublished work. Simultaneous submissions are acceptable but please let us know via submission@vallummag.com as soon as possible if your work is accepted elsewhere. If your work has been published in our most recent issue, please wait one issue before submitting again, at which point we will be happy to consider more of your work.
Vallum also accepts submissions of audio and video poems for possible inclusion in the digital edition. All files must be in MP3 or MPEG-4 file format and cannot exceed 95MB in size.
Submissions are accepted through Submittable only. We do not accept mailed submissions.
We pay our contributors!

BOA Editions: A. Poulin, Jr. Poetry Prize Deadline
2022-11-30 23:59 (America/Toronto) | Online
22nd annual A. Poulin, Jr. Poetry Prize: August 1 – November 30, 2022
Judge: Tina Chang

Winner Receives:
—Book publication by BOA Editions, Ltd. in spring 2024
—$1,000 honorarium
The A. Poulin, Jr. Poetry Prize is awarded to honor a poet’s first book, while also honoring the late founder of BOA Editions, Ltd., a not-for-profit publishing house of poetry and poetry in translation.
Submissions are invited only through Submittable or by post mail. We do not have the staff capacity to read or respond to manuscripts that are submitted by fax or email.
*Submission fee: $25
*Please note that, without the submission fee, we would not be able to accept contest submissions, or to offer a $1,000 prize to each winner. As BOA is a non-profit press with limited staff capacity, contest submission fees allow us to maintain sufficient editorial resources for careful review of each and every manuscript. We understand that submission fees can be difficult to accommodate, but rest assured that because of them, your submission will be carefully read, reviewed, and considered for this prestigious prize. Thank you for your understanding.
Electronic Submissions
Guidelines for electronic submissions are available at Submittable.com. All entries must be submitted by 11:59 PM Eastern Time on November 30.
Physical Submissions
All physical manuscripts must be mailed (or postmarked) to the below BOA Editions address by November 30, 2022. Please be sure to include the entry form and the $25 entry fee with your submission. Send one copy of each manuscript. Make check or money orders payable to BOA Editions. Do not pay by cash or credit card.
Download the Entry Form (PDF)
Eligibility:
—Entrants must be a U.S. citizen, a legal resident of the U.S., or have Deferred Action for Childhood Arrival (DACA) status, Temporary Protected Status (TPS), or Legal Permanent Status (LPS).
—Entrants must be at least 18 years of age.
—Only manuscripts by poets who have yet to publish a full-length book collection of poetry will be considered.
—Individual poems in the submitted manuscript may have been published previously in magazines, journals, anthologies, chapbooks, or self-published books, but these poems must be submitted as part of an original manuscript.
—Any published books of poetry disqualify contestants from entering this contest, though books published in other genres do not.
—Translations and collaborative manuscripts are not eligible.
—Employees, volunteers and board members of BOA Editions, Ltd., or their partners or spouses, or their immediate families, or immediate family of the judge are not eligible.
—Per the Publishing Contest Ethics, as advanced by the Council of Literary Magazines and Presses (CLMP), any person who has studied poetry in a formal program with the Final Judge—through a college, university, community program, residency, or private tutorial, within the last two years—is not eligible to submit a manuscript to this contest.
—Authors of BOA titles in other genres and translators who have been under contract with BOA are not eligible to submit.
Manuscript Format:
—Minimum of 48 pages, maximum of 100 pages of poetry.
—Manuscript text should be at least 12 pt. font.
—Name address and telephone number must appear on the title or cover page of the manuscript.
—Do not send artwork or photographs.
—Paginated consecutively with a table of contents.
—Bound with a binder clip (example).
—Attach publications acknowledgments, if any.
—Include a stamped, self-addressed postcard for notification of receipt of manuscript.
—Do not send by FedEx or UPS.
—Neither late nor early manuscripts will be accepted.
—Contestants may submit the manuscript elsewhere simultaneously, but must notify BOA Editions immediately if a manuscript is accepted by another publisher.
—Once submitted, manuscripts cannot be altered. Winner will be given the opportunity to revise before publication.
—Contestants may submit more than one manuscript, but a separate entry fee and entry form must accompany each manuscript.
—Manuscripts mailed from foreign countries risk not being received before final selections have been made.
Suggested Guidelines:
—Send manuscript in a plain or padded envelope. Please no boxes.
—For notification of competition results, include a business-size SASE.
—Keep a copy of your manuscript, as manuscripts will not be returned.
—We advise that you send your manuscript by first class or priority mail.
Answers to FAQs:
—The winner will be announced in spring 2023.
—The winning manuscript will be published in spring 2024 as an original paperback edition in the New Poets of America Series.
—The winner will retain full copyright of their work.
—The paper from all manuscripts will be recycled after the winner is announced.
—BOA Editions assumes no responsibility for loss of manuscripts.
—The most cost-effective method for mailing your manuscript is to send via USPS media mail.

Tint Journal: Deadline to Submit
2022-11-30 18:00 (America/Toronto) | Online
Share your short stories, essays, flash and poetry, as well as your artworks from October 10 to November 30, 2022 (CET midnight) with us to be considered for our Spring ’23 issue! We’re looking forward to receiving your work at submissions@tintjournal.com!
In view of the diverse backgrounds of our contributing writers, any subject matter which does not violate our values of acceptance and inclusivity is welcome. Check our submission guidelines and our previous issues to find out what we are looking for. Pieces which do not follow these guidelines will not be considered.

Submission Guidelines
Tint showcases the original work of writers for whom English is a second or non-native language.

Submissions for our biannual literary issues (categories: short stories, creative nonfiction, flash fiction, flash nonfiction and poetry) are only accepted by writers who have learned or acquired the English language after being fluent in another language and within an open call for submissions.
Submissions for our In Conversation section (reviews, interviews, and profiles focusing on ESL writing) are welcome year-round by writers of all linguistic backgrounds.
We also welcome art submissions to accompany the literary texts features in our biannual issues. These are only accepted within an open call for submissions.
Submissions which do not follow the following guidelines will not be considered.
What kind of submissions does Tint accept?
We accept original fiction and nonfiction creations by ESL writers (= all writers who have learned or acquired the English language after being fluent in another language), including short prose, flash as well as poetry. In view of the diverse backgrounds of our contributing writers, any subject matter which does not violate our values of acceptance and inclusivity is welcome. For text examples, see our current issue or visit our archive.
Please submit only previously unpublished pieces. If you have a previously published piece that fits our mission, please contact us via info@tintjournal.com.
Translations will not be accepted. Your text has to be an original creation in English. However, the work can feature words or passages in other languages.
Please only submit one piece per category (short story, creative nonfiction, flash fiction, flash nonfiction, poetry) at a time.
For creative prose (short story or creative nonfiction), please submit a piece (short story or creative nonfiction) between 1,000 and 4,000 words.
For flash (fiction or nonfiction), please submit a piece that does not exceed 800 words.
For poetry submissions, please submit one poem only. If the poem has subsections, mark them clearly in your document. A poem should not exceed four C4, A4 or Letter pages in length.
How can I submit my work?
For our biannual literary issues, we exclusively accept creative writing and art submissions which reach us within the period of an open call for submissions. Please name your document [Category]_[Last Name]_[Title], e.g. Poetry_Miller_The Rose.
Provide your submission with a title page, indicating your
—name,
—first language/mother tongue(s),
—second or foreign language(s),
—nationality,
—category (short story, creative nonfiction, flash fiction, flash nonfiction, or poetry),
—title of your piece,
—contact information (your e-mail address), and
—day of submission.
—Put page numbers on all pages following the title page.
—All submissions should be sent to submissions@tintjournal.com. If this form of submission presents an obstacle to the writer, please contact the journal at info@tintjournal.com.
—We prefer doc and docx files. In case your submissions requires special formatting, we also accept pdf files.
—Allow for a time period of up to 20 days between the end of a call and an answer.
Do I have to pay?
There is no submission fee.
However, donations of any amount are highly appreciated and will help to ensure quality and quantity of our work as well as to increase the range and impact of the journal. Find out more about how to support Tint here.
Does Tint accept simultaneous and multiple submissions?
If your work is accepted elsewhere, please let us know by sending us an e-mail at info@tintjournal.com.
Submit one piece per category at a time only. Feel free to approach us in the future with new work.
Audio File Guidelines:
We ask the writers who we publish to record their story, essay or poem at the end of our editing process. This audio recording is published along with their piece on our website.
Files should be in mp3, FLAC, WMA, or wav formats.
We prefer full-length recordings. However, if the work being read aloud is particularly long, you may choose either a section or the entire piece. If you choose a section only, let us know in advance.
Make sure your recording is clear and you are reading at an appropriate rate of speech. Begin by stating the title and your name.
For all audio submissions, please send the file via wetransfer.com to submissions@tintjournal.com.

The Georgia Poetry Prize 2022 Competition
2022-11-30 | Online
The Georgia Poetry Prize is open to unpublished, original collections of poems written in English by residents of North America.
Dates for submission: Manuscripts may be submitted between 9:00 a.m. EST on October 1 and 5:00 p.m. EST on November 30. Winners will be announced by early March.
Contest queries can be directed to press@uga.edu. The press will not accept phone calls regarding The Georgia Poetry Prize. If you encounter any technical difficulties while using the submissions manager, don’t hesitate to contact our submission manager support: support@submittable.com and/or phone: (855) 467-8264, ext. 2. The $25 entry fee can be paid online via credit card or PayPal.
Selection process: Each of two preliminary judges reads approximately one-half of the manuscripts submitted to the competition. The preliminary judges select ten finalists each; the pool of finalist manuscripts is read by an annually designated chief judge, who makes the final selection of one winning manuscript and a runner-up. Authors of winning manuscripts receive a cash award of $1,000, and their collections are subsequently published by the University of Georgia Press under a standard book contract. Winners have ten days to accept the award and ten days to sign the contract following receipt.
Eligibility: The competition is open to writers in English, whether published or unpublished. Previous winners of this award are not eligible to win again. Writers must be residents of North America.
Manuscript Guidelines
–Manuscripts are recommended to be a minimum of 50 pages to a recommended maximum of 100 pages of original poetry. No more than one poem should appear on a page.
–Please be sure manuscript pages are numbered.
–Please include a table of contents.
–Please use a standard, easy-to-read font such as Times New Roman in twelve-point size.
–Poems included in the submission may have appeared previously in magazines or anthologies but may not have been previously published in a book-length collection of the author’s own work.
–Authors may submit more than one manuscript to the competition for consideration as long as no material is duplicated between submissions. Each submission will require a separate entry fee.
–Manuscripts under consideration for this competition may be submitted elsewhere at the same time. Please withdraw your manuscript if it is accepted by another publisher and should no longer be considered for The Georgia Poetry Prize competition. Withdrawal can be completed via the submissions manager website. Entry fees are not refundable.
–Blind review: The intent of this contest is that manuscripts will be considered on the merits of the poetry and that judges will not be aware of the names or publication records of the authors.
–Please do not include your name on the pages of the manuscript—only in the form boxes of the electronic submission manager. The first page of the manuscript should include the title of the collection only.
–Please do not include a list of acknowledgments crediting where poems have been published.
–Judges who recognize work will recuse themselves, and the submission will be reassigned to a different judge.
–Confirmation of receipt and notification: You should receive an e-mail confirmation immediately after submission. An announcement of winners and finalists will be sent to all entrants via e-mail by early March.

HEAT Submissions Close
2022-11-29 23:59 (Australia/Sydney) | Online
HEAT, Giramondo’s literary magazine, is now welcoming submissions of fiction, essays, hybrid forms, translated works, and poetry. Our intention is to publish the best work being written in Australia and internationally, gathering innovative literary perspectives across borders.
HEAT is published six times a year in a slim, intimate format, that throws sharp focus on the work of the featured authors.
Writers looking to submit to HEAT should familiarise themselves with prior issues of the magazine and consider subscribing.
Please know, we do not publish reviews or opinion pieces, at least in the conventional sense. We are, however, interested in writing that engages with other writers and their works. We’re also intrigued by obsessions and curiosities, lost or secret histories, literary quests and writing that brings research to life. We encourage writing which gives full rein to the author’s voice, without the restriction of a word limit.
Unfortunately, we are unable to accept material that has appeared elsewhere in the English language.

Tree Reading Series: Elee Kraljii Gardiner & Dilruba Ahmed
2022-11-29 19:00 - 22:00 (America/Toronto) | Online
Join us for the next event of Tree Reading Series for 2022-2023 season. Tree is excited to welcome featured readers Elee Kraljii Gardiner and Dilruba Ahmed.

Readers

Elee Kraljii Gardiner is an author, editor, and creative mentor whose award-winning books of poetry include Trauma Head, which investigates the experience of vertebral artery dissection and stroke through textual interventions, and serpentine loop, which considers gender and physicality through the idea of ice. She is the editor of the anthologies Against Death: 35 Essays on Living and V6A: Writing from Vancouver’s Downtown Eastside. A frequent collaborator with choreographers, musicians, and visual artists, Elee is currently collaborating with nature via a series of durational installations that investigate the law of thermodynamics and cultural ideas regarding the passing of time. Originally from Boston, Elee lives in Canada where she directs Vancouver Manuscript Intensive, a program pairing authors with mentors. eleekg.com

Dilruba Ahmed is the author of Bring Now the Angels (Pitt Poetry), with poems featured in New York Times Magazine, The Slowdown, and Poetry Unbound . Her debut book, Dhaka Dust (Graywolf), won the Bakeless Prize.Her poems have appeared in Kenyon Review, New England Review, Ploughshares, & Virginia Quarterly Review.. She has taught with Chatham University, Hugo House, and workshops across the U.S. In January 2021, Ahmed joined the faculty at Warren Wilson College’s MFA Program for Writers. Classes & consultations: https://www.dilrubaahmed.com/writing-lab

Schedule

19:00 workshop by Dilruba Ahmed
20:00 EST open mic.
20:30 and Elee Kraljii Gardiner & Dilruba Ahmed.

This event will be hosted on Zoom. We recommend you install the latest version to ensure the best security and experience.
Confirmation of registration and online meeting details will be emailed on the day of the event. Registrations received after the workshop starts at 7PM may not be answered. For questions or concerns about your registration, please email treeliterary@gmail.com

2023 Cave Canem Fellowship Application Deadline
2022-11-28 23:59 (America/Toronto) | British Columbia
Since 1996, Cave Canem has awarded Fellowships to more than 500 Black poets.
Cave Canem Fellows are among the most distinguished poets in the field, not only as recipients of the highest literary honors and critical acclaim but also for their service in communities across the country.
Each year a cohort of 10–20 new Fellows is selected based solely on the quality of their poems. Cohorts encompass a range of different aesthetics and poetic practices (the spoken word tradition, formalism, multimedia performance, text-based composition, etc.), to ensure an equity of voices in our gathering—all united by a common purpose to improve craft and find productive space.
Fellows receive an unparalleled opportunity to study with a world-class faculty and join a community of peers at the Retreat, a week-long series of intensive poetry workshops, thought-provoking presentations, both public & private readings, and creative discourse. Due to our generous community of institutional funders and individual donors, there is no submission fee for the Fellowship application and the Cave Canem Retreat is free to all Fellows.
“[t]here is no place on this planet, no ground, no air, no sanctuary, no wharf, no hermitage, no refuge, no time, like the one week each summer when Black poets descend on an unsuspecting space and it becomes Cave Canem.”
—Nikky Finney, National Book Award winner and Cave Canem Faculty member
The Cave Canem Fellowship includes:
–Invitation to the Retreat
–A subscription to MasterClass
–Access to Fellows and Faculty fund
–Access to scholarships for select writing residences
–Archival training
–Inclusion in public programming (readings, panels, multigenre collaborations, etc.)
–Subscription to Digest, a bimonthly Cave Canem resource containing community news and exclusive offers
Please read all guidelines carefully. Your submission should comprise of a cover letter and 6-8 pages of poems:
–Cover letters should be typed into the corresponding box on Submittable.
–Six-eight pages of poems. Your name and the title of your poem must appear on every page and each poem must have a section break in between. Only one poem per section is permitted, though you may submit multiple-paged poems, with the title and your name appearing on every page
–Paginate your document. Place page numbers in the footers of each page (Example: Page 2 of 8). Footers can be included by double clicking the bottom of the page.
–Insert section breaks between each poem. Use headers to include your name and poem title on each page. Headers should differ per section, to include the correct poem title. Headers can be included by double clicking the top of the page.
–Use legible, 11-to-12-point font, preferably with serif.
–One application per candidate. You are urged not to wait until the last day to apply.

Job posting: PEN Canada Social Media Coordinator
2022-11-26 | Online
Title: Social Media Coordinator
Location: Toronto/GTA
Type: Hybrid Position: Part-Time
Term: January to June 2023| 3-month probation
Reports To: Executive Director & Office Manager Rate: $20/hour
Hours: 24 hours/week
Posted: November 2022
Closes: November 26, 2022
Start Date: TBC/January 2023
JOB DESCRIPTION
PEN Canada is looking for a highly organized, experienced part-time Social Media Coordinator with strong writing skills, working knowledge of the modern literary world, and a passion for current issues in free expression, globally.
The Social Media Coordinator liaises with our staff, board and community partners to create timely communications across all online platforms. The coordinator will manage PEN Canada’s social media platforms, e-newsletter, and current website. Expertise in Twitter, IG, FB/Meta, LinkedIn, YouTube, MailChimp and WordPress is essential.
This vital role is supervised by our Communications Chair, in consultation with the Executive Director, Office Manager and at times, works directly with our programming community partners on joint campaign efforts.
RESPONSIBILITIES
–Working in collaboration with the team above, you create & administer routine and time-sensitive online content (graphics, post-text, etc)
–Observe and Protect in-house and stakeholders’ timelines for content release
–Design, produce, and publish a steady & varied menu of dynamic content consistently
–Track and consult with the team on stakeholders’ content of relevance to PEN’s work
–Communicate professionally and promptly with the team
–With team consultation, report on and manage all online public/private messages promptly, pursuant to PEN’s mission and values
–Engage, Respond and Elevate Members & Stakeholders’ Online Content as advised
–Formalize a standing Public Communications Calendar for the team
–Draft Policy Protocols for time-sensitive/urgent/unscheduled content
–Maintain all online assets for currency and archiving
–Monitor and Report on key Analytics and Online Performance Targets, as required
–Attend a weekly Staff Meeting
–Attend/Provide Live-Online Engagement Reporting for Member Events, as available
–Collaborate with additional media teams as required
–Additional duties pending mutual agreement
QUALIFICATIONS
–Degree or diploma in Communications, Marketing, PR, and/or Project Management
–Degree or studies in Literature, Media Studies, Graphic Arts
–Minimum 2 years experience in Arts/Nonprofit Communications (includes freelance)
–Minimum 2 years experience in nonprofit Online Engagement and Graphics Design
–Excellent verbal and written skills in Canadian English, additional languages a plus
–Detail-oriented; excellent proofing and quality-control skills
–Can provide an online portfolio of sample work for review
–Experienced user in: Canva, iStock, MailChimp, WordPress, Twitter, IG/Meta/FB Pages, LinkedIn, LinkTree, Buffer or similar content aggregate
–Experienced with cross-consultation/diverse teams & advisors with constantly evolving task lists
–Willing to provide time-sensitive responses and collaboration on urgent issues
–Willing at times to protect your hours for occasional evenings/weekends/Events
–Confident in setting and communicating respectful boundaries for agreed hours
–At least two professional references
ASSETS
–Passionate learner, who loves to read and edit existing materials
–Keen to help make complex issues and subject matter more visible and accessible to a wide and diverse audience
–Willing and able to undertake self-directed work
–Curious about and excited to engage with sector professionals, writers, academics, and journalists on a variety of points of view and lived experiences
HOW TO APPLY
Applicants may submit a résumé and a link to an online portfolio, and references (at least 2 work-related) by email to: tjohnson@pencanada.ca
ABOUT PEN
PEN Canada is a nonpartisan charity that celebrates literature, defends freedom of expression and helps exiled writers to establish new lives in Canada. PEN Canada believes that literature is the shared inheritance of all humanity and opposes all forms of marginalization and discrimination.
PEN Canada embraces cultural diversity and inclusion and it will actively endeavour to embody these values.
All PEN Canada members are invited to engage with, debate, and contribute to its programmes, policies and activities. PEN further seeks full participation from and respectful engagement with groups that have traditionally been marginalized and oppressed.
PEN Canada is committed to maintaining a work environment that is free from discrimination. PEN Canada endeavours to treat all members, staff, programming partners and volunteers with courtesy and respect. Any decisions that affect employment or career development shall be made solely on an individual’s ability to do the job required.
PEN Canada’s communications, both internal and public, will endeavour to reflect its commitment to inclusivity. PEN Canada endeavours to adopt all measures within its power to reasonably accommodate disadvantaged minorities and to make its public events and office as accessible as possible.
PEN Canada will periodically review this policy and make any adjustments necessary to identify and eliminate discriminatory practices.
PEN Canada acknowledges that we share the lands of the Mississaugas of the Credit, the Anishinaabeg, the Haudenosaunee, and the Wendat. We recognize the enduring presence of all First Nations, Métis and the Inuit people, and are grateful to have the opportunity to meet and work on this territory in a journey towards truth and reconciliation.

Job Posting: Coordinator for Decolonial Initiatives and Indigenous Programming
2022-11-25 17:00 (America/Toronto) | Online
Poetry In Voice/Les voix de la poésie provides teachers with engaging educational resources and a variety of poetic experiences, in French and in English, to inspire their students to read, recite and write poetry. Poets create and present our programs and projects in the classroom, bringing contemporary poetry directly to young people.
We are committed to bringing poetry and poets (of Indigenous and non-Indigenous backgrounds from across Canada/Turtle Island) into the schools and communities of First Nations, Métis and Inuit / Indigenous youth. We would like to partner with Indigenous poets, artists, community and educational groups to ensure that we can better understand their needs, create collaborations with integrity, and offer appropriate programming.
The Indigenous Programming will be developed by Indigenous poets and/or educators. Our aims include creating initial Lesson Plans and other resource materials, visiting classrooms both virtually and in-person, augmenting our online anthology with new selections of Indigenous poetry, in their original languages and in translation, if possible, and highlighting recitations of Indigenous poetry in their original languages at our National Finals.
Start date: January 2023
Duration of contract: six month part-time position with the possibility of extension
Hours: 14 hours per week, which must be spread over a minimum of three days. National Finals may require more than 14 hours per week in March and April. Apart from in-person events, all tasks are carried out from home.
Remuneration: Between $25,000 and $35,000 per year, depending on experience
Advantages: 3 weeks of paid vacation the first year and 6 weeks from the second year of work

Deadline for Submissions: Arc’s 100th Issue
2022-11-25 | Online
Join us as we celebrate Arc Poetry Magazine’s 100th issue!

In this special call, we’re looking for poems that respond to work published in previous issues of Arc. These response poems will be one part of our 100th issues hullabaloo. We are interested in moving forward while glancing back. Some examples of response poems include (but are not limited to!): “after” poems, glosas, centos, golden shovels, and ekphrasis of visual art featured in Arc.
Submit your poems by November 25th, 2022 to be considered.
In your submission, please mention how your poem responds to work previously published in Arc, including the name, poet, and issue number of the piece (poem/essay/image/etc.) to which you are responding.
General submission guidelines include the following:
• Submissions must not exceed three poems.
• During each calendar year, Arc only accepts three poems per poet, and that includes submissions to this call.
• In order to submit two or three poems, you must submit two or three separate files. All poems must be their own submission.
Arc‘s rate for poetry of $50 per page. Payment is issued upon publication along with one free copy of the issue in which the work appears. With acceptance, Arc secures First Canadian Serial Rights, meaning the poems should not appear in any print or digital publication before the release of the issue in which the work appears. All rights will revert to the author upon publication.
Arc cannot promise to respond to inquiries regarding the status of submissions before the completion of a reading period.

David Bradford - Morris House Reading Series
2022-11-24 15:00 - 16:30 (America/Toronto) | Cleghorn (McGreer Hall) Bishop’s University, 2600 College St, Sherbrooke, Quebec, J1M 1Z7, Canada
David Bradford is the author of the Griffin Poetry Prize and Governor General Literary Awards finalist Dream of No One But Myself (Brick Books, 2021). Bradford is a poet, translator, editor, and organizer based in Tiohtià:ke (Montréal). He is the author of several chapbooks, including Nell Zink is Damn Free and The Plot. His work has also appeared in Brick, The Fiddlehead, fillingStation, The Capilano Review, and elsewhere. He holds an MFA from the University of Guelph and is a founding editor of House House Press. His second book of poetry, Bottom Rail on Top, works to complicate prevailing conceptions of Blackness by staging one personal present alongside American histories of antebellum Black life, and will be published in 2023.
The Morris House Reading Series brings both established and up-and-coming authors to Bishop’s University to present their work, answer questions, and meet with the audience during the informal reception that follows.
The Series is currently being supported by the Quebec Writers’ Federation, Bishop’s University Academic Enrichment Fund, Bishop’s University Bookstore, Canada Council for the Arts, and Bishop’s University Speakers Committee. The Series is also one of the founding members of the Literary Umbrella of Quebec (LUQ), a coalition of English-language Quebec literary promoters that shares its resources for the benefits of writers, students, organizers and the general public.
Authors who have previously visited us for the Series are listed in the Morris House Reading Series archives. You can also visit our Photo Gallery. For more information about the Morris House Reading Series or upcoming readings, contact its organizer, Dr. Linda M. Morra.

Frontenac House 2022 Quartet Launch Readings
2022-11-22 20:00 - 21:30 (America/Toronto) | Online
Join Frontenac House for their 2022 Quartet Launch Readings on Zoom.
Please register in advance for this launch. After registering, you will receive a confirmation email containing information about joining the meeting.
There will be a Q & A session after the readings, a kind of ‘covid-safe wine and cheese party’. Participants are encouraged to chat with the authors.

Openwork and Limestone

by Frances Boyle

Openwork and Limestone is a finely-wrought and potent new poetry collection from one of Canada’s most compelling poets. In Frances Boyle’s powerful vision, the rituals of contemporary women are seen through the lens of Celtic warrior queens, and goddesses. The natural and created worlds – as they run, as Boyle says, “through the funnel / of my palms” – are a constant source of awe and woman’s strength. A reverie that allows in the brutality of history and prehistory, as well as the joys. “The unconscious / swimming upward. What won’t stay buried rises / through rocks, rough-ridden and rusty.” Boyle’s Openwork and Limestone turns inward and outward at the same time, telling our multifarious collective human story so that it feels like our own intimate family history.

Emptying the Ocean

by Kim Fahner

Emptying the Ocean is a poetic journey based on the ancient Irish immram tales—the soul voyages taken by a woman who moves mystically through the four elements and the spirited Otherworld. Water, earth, air, and fire are woven through with imagination, inspiration, and spirit. The voice of the selkie bookends the collection, and the character of the sailor finds himself caught up in her wake. Rooted firmly in Irish myth and lore, with references to strong female figures who shapeshift and move between dimensions, there are Atlantic echoes of both Ireland and Newfoundland at work in these poems.

A Grief Cave

by Ben Gallagher

A Grief Cave is a heartbreaking and life-affirming debut collection. In it, Ben Gallagher searches for the “secret face in the dark” of his partner who died suddenly nine years ago. The book—arcing out of darkness toward a new relationship and children, shades of light—remains excruciatingly open despite immense pain. “After a death … // the exact volume of a cathedral / a lit candle / curve in the road at night …” Gallagher’s A Grief Cave keeps a steady focus on the world as it evolves around him, pursuing the “trace of desire’s echo” through the passage of time. The result is immersive and cathartic.

Pilgrim to No Country

by Anvesh Jain

Pilgrim to No Country is a skillful, high-energy, visionary debut poetry collection. Anvesh Jain, reliving his childhood immigration from Delhi to Calgary over and over, reimagines home with humour and wisdom. From the primordial to the present, from alienation to acceptance, Jain enacts a mythic clashing of worlds: “Self-immolation at Banff – / Burn me, burn it all. Spread my ashes / From Peace Bridge … // Bring me back to New Delhi, / Where air cremates my tongue, / Where it is brown and dirty / And unblinded by white snow.” Balancing critique of empire, love for his new homeland, and longing for the old world, Jain’s Pilgrim to No Country makes you laugh out loud and then leaves you haunted.

The Poets Read: A Celebration of Luciano Iacobelli
2022-11-21 19:00 - 22:00 (America/Toronto) | Clinton’s, 693 Bloor St W, Toronto, Ontario, M6G 1L5, Canada
You are cordially invited to an evening of readings from the late Luciano Iacobelli’s poetry. The Poets Read: A Celebration of Luciano Iacobelli takes place on Monday, November 21, from 7:00pm – 10:00pm at Clinton’s, 693 Bloor Street West, Toronto. More than 25 writers will read and raise a glass to Luciano.
Organized by Allan Briesmaster, Beatriz Hausner, Albert Moritz (Griffin Poetry Prize winner), and Giovanna Riccio

League of Canadian Poets Awards Deadline
2022-11-20 23:59 (America/Toronto) | Online
Our 2022-23 Book Award submissions are now open!
Deadline: November 20, 2022.
Awards:
–Gerald Lampert Memorial Award (for debut books of poetry)
–Pat Lowther Memorial Award (for books of poetry by women)
–Raymond Souster Award (for new poetry books by active League members)
Eligibility guidelines for all awards:
Deadline is November 20, 2022
–Authors must be Canadian citizens or permanent residents
–Submitted titles must have one author. Translators are not eligible as authors
–Titles must be at least 48 pages in length, excluding front and back material
–If a title is “selected” or “collected” work, it must contain at least 50% new material, measured in pages of text. This percentage must be identified with the submission.
–Chapbooks and self-published books are not eligible.
–Submissions are welcome in any language, but submissions in a language other than English must be accompanied by a translation (the original language text must have been published in 2021)
–Titles may be submitted by a publisher, author, or other nominator
–Please submit only one (1) book per form
–Books published in December 2022 will be eligible for our 2023 awards
–There is a $25.00 submission fee per title, per award that may be paid by credit card or cheque upon confirmation of receipt of the submission. Fee reductions available for books authored by BIPOC and/or LGBTQI2S writers.
–Books must be submitted as hard copies, with three copies submitted per award, plus one additional copy per title. PDFs will only be accepted for exceptional circumstances
–Please do NOT send books to our Carlton Street office; our awards administrator is not receiving them at that address, and will not be able to retrieve them
–Please do NOT send books or payment until you have received a confirmation e-mail with the address and amount from our awards administrator Ashley-Elizabeth Best
For questions and comments related to submissions for the 2022-2023 Book Awards, please contact our Admin Manager Ashley-Elizabeth Best: aeb@poets.ca

Poetry Masterclass with Tāriq Malik
2022-11-20 13:00 - 15:00 (America/Toronto) | Online
On November 20th, join Tāriq Malik for an energizing online workshop where he challenges you to push the boundaries of what language and image can do.
After sharing innovative poems from his new collection, Exit Wounds (out now through Caitlin Press!), Tāriq will guide you through genre-bending exercises that connect visual and poetic forms. You will walk away from this masterclass feeling a sense of empowerment, agency, and openness.
Instructor’s Bio
For the past four decades, Vancouver-based author Tāriq Malik has worked across poetry, fiction, and visual arts, to distill immersive and compelling narratives that are always original and intriguing. His poetry collection, Exit Wounds, is out now through Caitlin Press. Born in Pakistani Punjab, Tāriq Malik came reluctantly late to these shores. To get here, he first had to survive three wars, two migrations, and two decades of slaving in the Kuwaiti desert. He firmly believes his passion for distilling the alchemy of light/chroma/pixel, and his bouts of furious thinking about life and words in general, can all be happily and gainfully combined. He loves landscapes, bodies of living water large and small, and readers and listeners, and claims he writes so that he has something to read to his tribe on Open Mic Night at the local Poet’s Corner or on the hallowed grounds of public libraries. Tāriq Malik edited Portals, The Polyglot’s ninth issue, along with Ewa Kolacz. He is a proud member of The Polyglot’s monthly Multilingual Art Lab.
