tag:blogger.com,1999:blog-81298237666670205262023-11-16T02:40:17.905-08:00Bellingham ReviewTyler Koshakowhttp://www.blogger.com/profile/06492306309198632538noreply@blogger.comBlogger54125tag:blogger.com,1999:blog-8129823766667020526.post-59911555491843626902013-03-01T16:56:00.000-08:002013-03-01T16:57:01.619-08:00<br />
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<span style="font-size: x-large;"><span style="font-family: Times,"Times New Roman",serif;">Submit your entries now for our 2013 contests</span></span></h2>
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<span style="font-size: large;">We are extending the submission deadline through April 15th, 2013</span><span style="font-size: small;"> </span></h3>
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<span style="font-size: small;"><span style="font-size: large;">Please review our <a href="http://www.bhreview.org/2012-contest-submissions-guidelines/" target="_blank">submission guidelines</a>, then prepare your submission and upload them <a href="https://bhreview.submittable.com/submit/" target="_blank">here</a>. </span></span></div>
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<span style="font-size: large;">The 49th Parallel Award for Poetry</span></h3>
1st Prize: $1,000<br />
Final Judge: Kevin Clark<br />
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The 49th Parallel is the nickname for the US/Canada border that
stretches from Washington State to Minnesota. Bellingham, Washington,
the home of Western Washington University and the <i>Bellingham Review</i> lies just shy of the border. <br />
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The Annie Dillard Award for Creative Nonfiction</h3>
1st Prize: $1,000<br />
Final Judge: Dinah Lenney<br />
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Born April 30, 1945, Annie Dillard is best known for her nature-themed
writing. She has explored her past and present dealings with nature
through poetry, essays and novels. Often compared to Thoreau and other
transcendentalist writers, Dillard is unique in her defiance of any
strict categorization. As she examines the natural world, her subjects
move between wildlife, God and the human condition. Among the nine
book-length publications Dillard has published over the past twenty
years, her use of multiple genres allows her to seamlessly move from
Virginia creeks, to the Puget Sound, to the Galapagos Islands.<br />
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The Tobias Wolff Award for Fiction</h3>
1st Prize: $1,000<br />
Final Judge: Marjorie Sandor<br />
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Born in 1945 in Alabama, Wolff has been regarded as the master of memoir and short stories. His best known work, <i>This Boy’s Life</i>,
recounts the story of his early childhood years in the Northwest and
was the basis for a 1993 motion picture starring Robert DeNiro and
Leonardo DiCaprio. A three-time winner of the O. Henry Award, Tobias
Wolff is celebrated for his collections of short stories, novels, and
memoirs. Wolff’s second collection of short stories, <i>Back in the World</i> (1985),
was hailed as a sensitive work of fiction focusing primarily on the
experiences of returning Vietnam veterans. In literary circles, Wolff is
revered as much as a teacher as he is as a writer. After completing a
Stegner Fellowship at Stanford University, Wolff served as the Jones
Lecturer in Creative Writing at that institution (1975-1978). He later
spent 17 years leading the Creative Writing Program at Syracuse
University (1980-97). In 1997, he returned to Stanford where he
currently resides and teaches.<br />
<br />Bellingham Reviewhttp://www.blogger.com/profile/01186297923154102833noreply@blogger.com1tag:blogger.com,1999:blog-8129823766667020526.post-82258461666404091812012-12-02T11:25:00.000-08:002012-12-03T11:55:51.982-08:00<br />
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2013 Contests Are Now Open!</h1>
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<br /><a href="https://bhreview.submittable.com/submit/">https://bhreview.submittable.com/submit/</a></h2>
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following awards are offered once a year by the <cite>Bellingham Review</cite>.</div>
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The 49th Parallel Award for Poetry</h2>
1st Prize: $1,000<br />
Final Judge: Kevin Clark<br />
>The 49th Parallel is the nickname for the US/Canada border that stretches from Washington State to Minnesota. Bellingham, Washington, the home of Western Washington University and the<em>Bellingham Review</em> lies just shy of the border.<br />
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The Annie Dillard Award for Creative Nonfiction</h2>
1st Prize: $1,000<br />
Final Judge: Dinah Lenney<br />
Born April 30, 1945, Annie Dillard is best known for her nature-themed writing. She has explored her past and present dealings with nature through poetry, essays and novels. Often compared to Thoreau and other transcendentalist writers, Dillard is unique in her defiance of any strict categorization. As she examines the natural world, her subjects move between wildlife, God and the human condition. Among the nine book-length publications Dillard has published over the past twenty years, her use of multiple genres allows her to seamlessly move from Virginia creeks, to the Puget Sound, to the Galapagos Islands.s<br />
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The Tobias Wolff Award for Fiction</h2>
1st Prize: $1,000<br />
Final Judge: Marjorie Sandor<br />
Born in 1945 in Alabama, Wolff has been regarded as the master of memoir and short stories. His best known work, <em>This Boy’s Life</em>, recounts the story of his early childhood years in the Northwest and was the basis for a 1993 motion picture starring Robert DeNiro and Leonardo DiCaprio. A three-time winner of the O. Henry Award, Tobias Wolff is celebrated for his collections of short stories, novels, and memoirs. Wolff’s second collection of short stories, <em>Back in the World</em> (1985), was hailed as a sensitive work of fiction focusing primarily on the experiences of returning Vietnam veterans. In literary circles, Wolff is revered as much as a teacher as he is as a writer. After completing a Stegner Fellowship at Stanford University, Wolff served as the Jones Lecturer in Creative Writing at that institution (1975-1978). He later spent 17 years leading the Creative Writing Program at Syracuse University (1980-97). In 1997, he returned to Stanford where he currently resides and teaches.<br />
<a b7bc4="b7bc4" color:="color:" href="http://www.bhreview.org/2012-contest-submissions-guidelines/" initial="initial" none="none" outline:="outline:" text-decoration:="text-decoration:" title="2012 Contest Submissions Guidelines">Contest Submission Guidelines</a>
Bellingham Reviewhttp://www.blogger.com/profile/01186297923154102833noreply@blogger.com0tag:blogger.com,1999:blog-8129823766667020526.post-83473632136557508882012-06-10T19:47:00.001-07:002012-06-10T19:50:20.325-07:00The 2012 Contest Winners<div dir="ltr" style="text-align: left;" trbidi="on">
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<b>The<i> Bellingham Review </i>is Pleased to Announce</b> <b>Winners of the 2012 Literary Contests</b></div>
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<b><span style="font-size: 14pt;">The Annie Dillard Award for Creative
Nonfiction</span></b></h2>
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<i>Final Judge: Sheila
Bender<o:p></o:p></i></div>
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<b><span style="font-size: 14pt;">First Place: Anittah Patrick<o:p></o:p></span></b></div>
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<span style="font-size: 14pt;">“The Math”<o:p></o:p></span></div>
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<u>Runner Up</u>: Aaron Alford, “Dead Man’s Land”<o:p></o:p></div>
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<u>Finalists</u>: Natalie Vestin,
Kate Washington, Sharon Carmack, Gina Troisi, Cathy Warner<o:p></o:p></div>
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<br /><b><span style="font-size: 14pt;">The 49<sup>th</sup>
Parallel Award for Poetry</span></b></h2>
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Final Judge: Linda Bierds<o:p></o:p></div>
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<b><span style="font-size: 14pt;">First Place: Anna
Marie Craighead-Kintis<o:p></o:p></span></b></div>
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<span style="font-size: 14pt;">“A
Bosque Burns on the Feast of John the Baptist”<o:p></o:p></span></div>
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<u>Runner Up:</u> Marcia Popp, “you can sit over there”<o:p></o:p></div>
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<u>Finalists</u>: Hadara Bar-Nadav,
Wesley Rothman, Traci Brimhall, Amy Miller, Kristina Moriconi, Kumani Gantt,
Shawn Fawson<o:p></o:p></div>
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<br /><b><span style="font-size: 14pt;">The Tobias
Wolff Award for Fiction</span></b></h2>
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Final Judge: Robin Hemley<o:p></o:p></div>
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<b><span style="font-size: 14pt;">First Place: Dalia Rosenfeld<br />
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<span style="font-size: 14pt;">“Swan
Street”</span><br />
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<u>Runner Up</u>: Patricia Brieschke “Beans, Love, and
Revolution” <o:p></o:p></div>
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<u>Finalists</u>: Allyson
Armistead, Amalia Gladhart, Judy Myers, Karen Uhlmann<o:p></o:p></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 16pt;">The
<i>Bellingham Review</i> Literary Contests 2013</span></h2>
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<i><span style="font-family: 'Times New Roman', serif; font-size: 14pt;">The</span></i><i><span style="font-family: 'Times New Roman', serif; font-size: 14pt;"> 49th Parallel Poetry
Award</span></i><i><span style="font-family: 'Times New Roman', serif; font-size: 14pt;"> </span></i><span style="font-family: 'Times New Roman', serif;">Final
Judge: Kevin Clark</span><i><span style="font-family: 'Times New Roman', serif; font-size: 14pt;"><o:p></o:p></span></i></div>
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<i><span style="font-family: 'Times New Roman', serif; font-size: 14pt;">The Annie Dillard Award for
Creative Nonfiction </span></i><span style="font-family: 'Times New Roman', serif;">Final Judge: Dinah Lenney</span><i><span style="font-family: 'Times New Roman', serif; font-size: 14pt;"><o:p></o:p></span></i></div>
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<i><span style="font-family: 'Times New Roman', serif; font-size: 14pt;">The Tobias Wolff
Award for Fiction</span></i><i><span style="font-family: 'Times New Roman', serif; font-size: 14pt;"> </span></i><span style="font-family: 'Times New Roman', serif;">Final Judge: </span><span style="font-family: 'Times New Roman', serif;">Marjorie Sandor</span><i><span style="font-family: 'Times New Roman', serif; font-size: 14pt;"><o:p></o:p></span></i></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 22pt;">1st Place: $1,000 in each Category</span></h2>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt;">First place winners will be
published in the <i>Bellingham Review.</i> <o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt;">Runners-up and finalists may be
considered for publication.<o:p></o:p></span></div>
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<b><i><span style="font-family: 'Times New Roman', serif; font-size: 10pt;">Check out our <a href="http://www.bhreview.org/" target="_blank">website</a> for the full
contest guidelines.</span></i></b></div>
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</div>marilyn v brucehttp://www.blogger.com/profile/01390626105588483432noreply@blogger.com0tag:blogger.com,1999:blog-8129823766667020526.post-51876815025179202762012-06-02T13:48:00.001-07:002012-06-02T13:48:06.544-07:00An Interview with Brenda Miller<div dir="ltr" style="text-align: left;" trbidi="on">
The Committee Room recently featured <i>Bellingham Review</i> in their literary journal series and interviewed <i>Bellingham Review</i>'s Editor-in-Chief, Brenda Miller.<br />
Check out the <a href="http://www.thecommroom.com/2012/04/tcr-literary-journal-series-bellingham.html." target="_blank">interview</a> for some insight regarding the <i>Bellingham Review</i>'s<i> </i>submission process, the journal's aesthetic, and what it means to publish "literature of palpable quality."<br />
<br /></div>marilyn v brucehttp://www.blogger.com/profile/01390626105588483432noreply@blogger.com0tag:blogger.com,1999:blog-8129823766667020526.post-60866807260692928392012-05-25T15:49:00.000-07:002012-05-25T15:49:01.424-07:00Issue 64 is here!Hot off the press, issue 64 of <em>The Bellingham Review</em> is finally here. Featuring this year's winners of The Tobias Wolff Award for Fiction, The Annie Dillard Award for Creative Nonfiction , and The 49th Parallel Poetry Award. For information on where to get your copy, visit our <a href="http://www.bhreview.org/" target="_blank">website</a>.Tyler Koshakowhttp://www.blogger.com/profile/06492306309198632538noreply@blogger.com0tag:blogger.com,1999:blog-8129823766667020526.post-63067082723789684862012-04-01T20:05:00.000-07:002012-06-21T20:14:23.254-07:00AWP De-brief<span style="font-family: Georgia, 'Times New Roman', serif;">In my few days at the AWP conference in Chicago this March, I was honored<br />to see so many writers in person whose work I’ve only read and to be in<br />the presence of thousands of attendees who love writing as I do. Amongst<br />the events I attended were a Word Party hosted by Derrick Brown and<br />some poets on the Write Bloody Publishing team, a Cave Canem legacy<br />conversation with poet Nikki Giovanni, and a panel on persona poetry from<br />an anthology co-edited by our very own Oliver de la Paz that featured poet<br />Patricia Smith. Of the many remarkable panels and readings that I attended,<br />I will share with you some insights on “From Question to Quest: Redefining<br />Nonfiction in the Field, in the Classroom, and on the Page” with author and<br />editor Donovan Hohn, journalist and author V.V. (Sugi) Ganeshananthan,<br />and novelist Jesmyn Ward. Also on the panel were Jeremiah Chamberlin and<br />Matthew Power, but my late arrival prevented me from hearing their talks.<br /><br />I walked into the panel presentation in the middle of a discussion on Moby-<br />Duck. ‘Moby-Duck? Did I hear that right?’ As I entered the presentation in<br />media res, I had to imagine what came before my entrance, what context<br />I was missing. In this way, I was reminded of how I’ve felt when trying to<br />piece together enough fragments of memory to write a nonfiction narrative—<br />the uncertainty that usually comes when searching for specific details that<br />time has often separated from me. My notes that at the time felt sufficient,<br />thorough, poignant even, are actually choppy at best, and now that I am out<br />of the Astoria room of the Chicago Hilton, the details are even more fuzzy.<br />The appearance of notes on a page always seem so contextless. “Moby-<br />Duck: The True Story...” floats in the middle of my notebook page and at<br />the time of my writing those four words, I knew little more about the book<br />than part of the title and my mind was overflowing with questions. ‘I couldn’t<br />have heard the title of that book correctly, could I have?’ I made a note to<br />look the book up on the internet and after a recent search on Amazon, I<br />realize that yes, it is as I heard.<br /><br />Donovan Hohn, author of <i>Moby-Duck: The True Story of 28,800 Bath Toys<br />Lost at Sea and of the Beachcombers, Oceanographers, Environmentalists,<br />and Fools, Including the Author, Who Went in Search of Them</i>, spoke of<br />the art of speculation, the usefulness of doubt (“doubtful certainties”), and<br />the aesthetics of perhaps. For Hohn, “in a good literary quest, the treasure<br />rarely lies in the ‘X’ on the map.” Quests often begin with the standard Q +<br />A form, but usually lead to “Q + Q + Q and then possibly A?”. In response<br />to the frequent question “Why did you feel compelled to chase the toys<br />lost at sea?” Hohn answers that questions can be like being in a current—<br />one line of inquiry can lead you to being swept away. As many writers of<br />nonfiction may be familiar, when writing a narrative, one has to ask “What<br />do I know?” then “What do I have to imagine?” and then lastly “What might<br />have happened?”<br /><br />Picking up on the subject of imagination, V.V. (Sugi) Ganeshananthan,<br />author of <i>Love Marriage</i> and whose journalism often centers on Sri Lanka<br />and Sri Lankan politics, spoke on how her work as a journalist informs her<br />fiction-writing. Ganeshananthan spoke of when she moves from journalism<br />to fiction-writing, she leaves the world of fact for the one of imagination.<br />She began with the common sentiment that literature tends to last and<br />periodicals tend to line pet cages. Because of the shelf-life inherent in<br />some written word, she poses the question “How are we going to be<br />remembered?” Instead of focusing on the polarizing debate of journalism vs.<br />creative writing, Ganeshananthan’s talk centered on what creative writers<br />can learn from journalists, so what follows are some words of advice: Be<br />willing to produce things that are bad (the “shitty first draft”). Even in<br />creative writing, the questions that still need to be answered are “who?,<br />what?, where?, when?, and why?”. Be ravenous in your search for<br />information and have the audacity to imagine that you can pursue anything.<br />Don’t neglect to lean heavily on a solid combination of lived experience,<br />research and imagination. Ganeshananthan said “Objectivity is a total myth”<br />and likened objectivity to infinity in that it’s an unreachable goal but is worth<br />trying for. Lastly, don’t be afraid to pursue an interview, as most people<br />will want to share their expertise and doing so will help build voice, adding<br />character to your writing. Her final words were “writing allows us to enter<br />other consciousnesses,” a sentiment that speaks to the power of the written<br />word.<br /><br />Jesmyn Ward whose book <i>Salvage the Bones</i> won a National Book Award<br />has a memoir forthcoming about five men very dear to her (including a<br />brother) that she lost in a short span of time. Through writing, Ward, who<br />is a survivor of Hurricane Katrina, tries to find sense in loss and of this, she<br />said, “I don’t know how to write a narrative short on hope.” She explains<br />her turn to memoir by saying that she never tried to write about her loss<br />in fiction because the grief was too immense to grasp to write in that<br />medium. Creative nonfiction has a different power than fiction and through<br />the medium of memoir, she can honor the names of the men that she lost<br />and allow them to live again on the page. Ward mostly writes about the<br />south and the subjects in Ward’s writing (systemic racism, poverty, etc.) are<br />difficult and often easier to ignore, but those systems and victims need to be<br />acknowledged.<br /><br />I was haunted by Ward’s story and after the panel ended, my obsessive<br />nature was piqued and I felt compelled to know everything about her writing<br />and her history. I have visited her Wikipedia page multiple times, have<br />bookmarked her blog. Ward said that she seeks to allow her five men to live<br />again on the page and by her speaking of them even in such a summary<br />way for that short time on the panel, I want to know them. I don’t know<br />when her memoir will be released, but I know I will read it. Too, I have<br />bookmarked Ganeshananthan’s website and browsed several of her articles,<br />and I have read summaries and reviews on Hohn’s <i>Moby-Duck</i> and yes,<br />am just a bit curious about all of those toys. So is the power of hearing the<br />voices of authors beyond the blurbs and their still picture on the book flap.<br /><br />As I left AWP with as many journals and pamphlets as I could carry, I<br />couldn’t wait to write again, to read my newly purchased books, to borrow<br />Hohn’s language about the aesthetics of perhaps with my composition class,<br />even. What was most surprising for me, I think, was that I began to revisit<br />the question of an MFA degree and if maybe I should pursue further study in<br />creative writing someday. And yet, I know an MFA is not the only way. Here<br />I am again in my own current of uncertainty, but what I do know is that<br />however I proceed from here, I know that I can’t imagine exiting this writing<br />community just yet.</span>Dannie Smithhttp://www.blogger.com/profile/01055470646374227751noreply@blogger.com0tag:blogger.com,1999:blog-8129823766667020526.post-80345488555076532562012-02-26T10:01:00.004-08:002012-02-26T10:21:49.368-08:00Bellingham Review on the Radio!<div><span style="font-size: 100%; ">Lauri Anderson, the winner of the 2011 Tobias Wolff Award for Fiction, was recently interviewed on NPR's </span><i style="font-size: 100%; ">All Things Considered</i><span style="font-size: 100%; ">. During this interview, Anderson discussed her prize-winning story, "A Saint and a Criminal," which won NPR's three-minute fiction contest. She also mentioned her recent win of <i>Bellingham Review</i>'s annual award in fiction.</span></div><div><br /></div><div>In addition, Bethany Carlson, a finalist in the 2011 49th Parallel Award for Poetry, read her poem "If truth is a dreamcatcher, then" on WIFU, a local NPR station in Bloomington, Indiana. Both Anderson and Carlson's works will appear in Issue 64 of <i>Bellingham Review</i>.</div><div><br /></div><div>Way to go ladies!</div><div><br /></div><div>This year's contests, Tobias Wolff Award for Fiction, the 49th Parallel Award for Poetry, as well as the Annie Dillard Award for Creative Nonfiction, are still open for entry. The contests close March 15th. Please visit our website for our full contest guidelines, as well as a link to Submittable: http://www.bhreview.org.</div><div><br /></div>marilyn v brucehttp://www.blogger.com/profile/01390626105588483432noreply@blogger.com16tag:blogger.com,1999:blog-8129823766667020526.post-27267332891220572102012-02-24T18:42:00.004-08:002012-02-24T19:51:07.236-08:00On (Not) Writing<span style="font-size: 100%; "><i></i></span><blockquote><span style="font-size: 100%; "><i>I am going to write!</i> White space. Cursor blinking. </span><span style="font-size: 16px; ">Teach. </span><span style="font-size: 100%; ">Facebook. Eat. Play Angry Birds. </span><span style="font-size: 16px; ">Sleep</span><span style="font-size: 16px; ">.</span><span style="font-size: 100%; "> Grad seminar. </span><i style="font-size: 16px; ">I need to make words!</i><span style="font-size: 16px; "> Play Words with Friends. Grad seminar. </span><span style="font-size: 16px; ">Sleep </span><span >(maybe)</span><span style="font-size: 16px; ">. </span><span style="font-size: 100%; "><i>I miss writing! </i>Guilt.</span><span style="font-style: normal; font-size: 100%; "> Repeat.</span></blockquote><span style="font-size: 100%;"><span style="font-style: normal; font-size: 100%; "></span></span><div style="font-size: 100%; ">Somehow, I was lucky enough to study Slam and Spoken Word Poetry this quarter with Bruce Beasley, an amazing writer and fantastic professor. In my many years of schooling, I have had several wild and memorable classes, but this one is placed so very near the top. Last Friday, poet Anis Mojgani visited our classroom. Mojgani is kind of a big deal: National Poetry Slam Individual Champion for 2005 and 2006, nominations for a National Book Award and a Pushcart Prize, amongst others. During the two hour class, Mojgani talked to us about the life of a full-time poet and the feel of the poetry slam. What he read was lush. His performance vivid. So many of his poems made my eyes water. He asked us what our experience was with writing and performing and I shared that performing <i>terrifies</i> me. That during our first class slam, my body felt that it was going to collapse and I will probably never do it again after this class ends.</div><div style="font-size: 100%; "><br /></div><div style="font-size: 100%; ">It felt strange and lovely to talk to someone our class had been studying, but his arrival was so timely. What he spent a great deal of time on was talking about process. He would love to and tries to write every day if it's at all possible, but going on the road as he does for almost 4-6 months out of the year breaks the consistency that he needs and he's not good with interruptions. He will sit at a coffee shop with a computer in an attempt to "work his way in" to the act of writing. Much of this work consists of a blank screen and lots of time on Facebook (Note: Anis Mojgani and I have the same writing process. YES!). He shared an anecdote that ended with the sentiment that the day will come when you have to write, either because of a deadline or some other obligation, and you will just need to write, regardless if you <i>feel it</i> or not. Sometimes inspiration comes in a dark movie theatre and by the time you find a pen, the moment is gone. He related that the days are rare when inspiration sticks around long enough or perfectly enough to where you can say "Ah! Look at this thing that I've observed! I will mold this later into a poem!" </div><div style="font-size: 100%; "><br /></div><div style="font-size: 100%; ">If Anis Mojgani has those days too, I don't feel so bad anymore. I haven't slept much the last few days. I'm behind in my grading. I'm graduating next quarter. I often don't remember to eat. I have been neglecting my family and friends. I have a collection to work on a<span style="font-size: 100%; ">nd I haven't been writing much, if at all. </span></div><div style="font-size: 100%; "><span style="font-size: 100%; "><br /></span></div><div style="font-size: 100%; "><span style="font-size: 100%; ">Except...</span></div><div style="font-size: 100%; "><br /></div><div style="font-size: 100%; ">My sister just played "BORE" on Words with Friends for 14 points. My tiles: HQENVNT. I will work my way in one letter at a time.</div><div style="font-size: 100%; "><span style="font-style: normal; font-size: 100%; "><br /></span></div>Dannie Smithhttp://www.blogger.com/profile/01055470646374227751noreply@blogger.com1tag:blogger.com,1999:blog-8129823766667020526.post-50702090809629853362012-02-10T11:49:00.000-08:002012-02-12T17:33:05.275-08:00Staceyann Chin<div>Our nonfiction editor and poetry aficionado, Danielle Smith, discusses her love of slam poetry, specifically the slam poet Staceyann Chin, in this lively post. </div><div></div><br /><br /><div>"I wish every c*nt had the courage to bear public witness. I wish every woman had the pen, the clear view, and the support she needs to scream, 'What happened to me was not my fault!'" speaks Jamaican-born writer, performance artist and activist Staceyann Chin, during a guest performance at the 2009 Campus Progress National Conference.</div><div><br />I cannot begin to tell you what YouTube web led me to find and watch <a href="http://youtu.be/bGk3-OJX7KE">the performance</a>, but immediately, I was awed by Chin's humor and stage presence. Chin begins by relating her thoughts on George W. Bush's second term in the form of haiku ("How can you fuck up / So many times and still be / voted president?").</div><div><br />From there, Chin reads a chapter from her memoir The Other Side of Paradise in which she describes getting her first period. Now, one might think that a girl's first period is such a completely "normal" experience, one that is not at all the stuff of memoir. What Chin does is make the normal remarkable. Chin ends with a poem "about [her] va-jay-jay," the same poem that holds the lines I quoted at the start. In it, she references the sexual abuse she suffered at the hands of a relative but that is not the whole of it. Chin does not attempt to occupy the position of victim and instead demonstrates how she began to see her body as a source of strength and beauty. At times heartbreaking and wildly funny, Chin's reading captures the intersections of womanhood, race and sexuality beautifully.</div><div><br />The Other Side of Paradise was published in early 2009 and I wonder what I was doing in 2009 that made it possible for me to miss out on it until now. The book is on its way to me via Amazon and once it gets here (and my busy schedule allows me to read it), I will share more with you.<br /></div><div><br /></div><div>--Danielle Smith</div>marilyn v brucehttp://www.blogger.com/profile/01390626105588483432noreply@blogger.com0tag:blogger.com,1999:blog-8129823766667020526.post-11522998180400199682012-01-25T10:29:00.000-08:002012-01-25T10:35:27.021-08:00Nine Things I Still Have to Say to Billy Collins<meta equiv="Content-Type" content="text/html; charset=utf-8"><meta name="ProgId" content="Word.Document"><meta name="Generator" content="Microsoft Word 12"><meta name="Originator" content="Microsoft Word 12"><link rel="File-List" href="file:///C:%5CDOCUME%7E1%5Cashleyb2%5CLOCALS%7E1%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_filelist.xml"><!--[if gte mso 9]><xml> <o:officedocumentsettings> <o:allowpng/> </o:OfficeDocumentSettings> </xml><![endif]--><link rel="themeData" 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!supportLists]--><span style=""><span style="">1.<span style="font: 7pt "Times New Roman";"> </span></span></span><!--[endif]-->Anyone can undress Emily Dickinson.<span style=""> </span>Sure, she seems unavailable, distant in that east coast kind of way.<span style=""> </span>Maybe even a little gay.<span style=""> </span>That’s what makes her Emily Dickinson.<span style=""> </span>You just have to be the kind of person who mistakes any woman in white for a bride, who treats each broad pause on the page as an open door, no need to knock.<span style=""> </span>Consider her all icing.<span style=""> </span>She is (we are) after all just waiting for you to provide the cake.</p> <p class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in;"><!--[if !supportLists]--><span style=""><span style="">2.<span style="font: 7pt "Times New Roman";"> </span></span></span><!--[endif]-->While the complexity of women’s undergarments in 19<sup>th</sup> century America is not to be waved off, simple misogyny is easily disguised as an abiding metaphorical interest in cartography.<span style=""> </span></p> <p class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in;"><!--[if !supportLists]--><span style=""><span style="">3.<span style="font: 7pt "Times New Roman";"> </span></span></span><!--[endif]-->Set the map’s agenda and select traits of the object to be mapped.<span style=""> </span>This is the concern of map editing.<span style=""> </span>Objects may be physical, such as roads or land masses, or abstract such as women writers who will never (ever) have sex with you.</p> <p class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in;"><!--[if !supportLists]--><span style=""><span style="">4.<span style="font: 7pt "Times New Roman";"> </span></span></span><!--[endif]-->Represent the terrain of the mapped object on flat media.<span style=""> </span>This is the concern of map projections.<span style=""> </span></p> <p class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in;"><!--[if !supportLists]--><span style=""><span style="">5.<span style="font: 7pt "Times New Roman";"> </span></span></span><!--[endif]-->Where Emily is ocean, imagine her as tap water kept safe in your city reservoir.<span style=""> </span>Find a clever glass to pour her into.</p> <p class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in;"><!--[if !supportLists]--><span style=""><span style="">6.<span style="font: 7pt "Times New Roman";"> </span></span></span><!--[endif]-->Eliminate characteristics of the mapped object that are not relevant to the map’s purpose.<span style=""> </span>This is the concern of generalization.<span style=""> </span></p> <p class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in;"><!--[if !supportLists]--><span style=""><span style="">7.<span style="font: 7pt "Times New Roman";"> </span></span></span><!--[endif]-->When veering dangerously close to live animal of her body, ignore the swoon and thump of her heart’s mute muscle, enter her into the record as iceberg.</p> <p class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in;"><!--[if !supportLists]--><span style=""><span style="">8.<span style="font: 7pt "Times New Roman";"> </span></span></span><!--[endif]-->Reduce the complexity of the characteristics of that will be mapped.<span style=""> </span>This also the concern of generalization.</p> <p class="MsoListParagraphCxSpLast" style="text-indent: -0.25in;"><!--[if !supportLists]--><span style=""><span style="">9.<span style="font: 7pt "Times New Roman";"> </span></span></span><!--[endif]-->Insist on Emily’s loneliness.<span style=""> </span>Lonely is never busy, never dedicated to her art or otherwise engaged.<span style=""> </span>Lonely is not an occupation and definitely not a career.<span style=""> </span>Lonely is mute, curtained, meaningless.<span style=""> </span>Lonely stands motionless in Amherst forever, a little wide eyed, looking out the window at the orchard below, hoping for company and that’s your job, tiger.</p>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-8129823766667020526.post-7785620175634039592011-12-18T11:25:00.000-08:002011-12-18T13:07:41.949-08:00Poetry in Australia<div>In biology, isolation results in advantageous adaptations. Plants, animals, and--as I was recently reminded--even texts, evolve in unique ways as a result of geographic separation. While sensational works of Literature criss-cross the globe as fast as text messages between eager teens the underground, innovative phenomenon (the bacon and eggs of critics and professors) are often known only within their national or regional location, their "scene." These texts often develop differently depending on the nature of their particular scene.<br /></div><br /><br /><div>This is a topic (among other interesting subjects) addressed in an <a href="http://sydneycitypoet.tumblr.com/post/12670961333/meeting-in-the-hungry-middle-a-conversation-with-kent">interview </a>with recent <em>Bellingham Review</em> contributor Kent MacCarter, an American expatriate living in Australia. I'll admit that before reading this interview, I had never considered that there was such a thing as an Australian poetic enclave, but poets in Australia are thriving, writing interesting, innovative work in their hemisphere. </div><br /><div></div><br /><div>MacCarter recently compiled a list of notable Australian poets and presses for <em>SPUNC: The Small Press Network, </em>an organization, founded in 2006, that represents "small and independent Australian publishers." The <a href="http://spunc.com.au/splog/post/winter-poetry-feature-part-2-temperton-beveridge-leber-cahill-and-lea/">winter</a>, <a href="http://spunc.com.au/splog/post/spring-2011-poetry-feature-part-4-adamson-farrell-nunn-hardacre-kerdijk-nicholson-beesley/">spring</a>, and <a href="http://spunc.com.au/splog/post/summer-poetry-feature-part-4-cronin-hill-sant-shapcott-collins-gorton-shepherdson/">summer</a> features highlight Australian poems of interest recently published in SPUNC member presses. </div><br /><div></div><br /><div>These lists provide a small sample of Australian poetry. My favorites include "A Shanty" by Judith Beveridge, "Dying to Meet You" by Michelle Cahill, and "5:15" by Paul Hardacre, but every poem on the list is fascinating. I recommend you visit the features to find some of your own favorites from down under.</div><div><br /></div><div>Marilyn</div><div><br /></div>marilyn v brucehttp://www.blogger.com/profile/01390626105588483432noreply@blogger.com2tag:blogger.com,1999:blog-8129823766667020526.post-22078030715131865882011-12-13T13:50:00.000-08:002011-12-14T20:54:20.340-08:00Bellingham Review Annual Contests<p><em>Bellingham Review</em> is now accepting entries in our annual contests, The 49th Parallel Award in Poetry, The Annie Dillard Award in Creative Nonfiction, and The Tobias Wolff Award in Fiction.</p><ul><li><b>Each contest carries a $1,000 prize!</b></li><br /><li>Entry costs $20. Each additional entry in the same genre costs $10.</li></ul><div>The contest judges are as follows:</div><br /><div>The 49th Parallel Award: Linda Bierds<br />The Annie Dillard Award: Sheila Bender</div><div>The Tobias Wolff Award: Robin Hemley</div><br /><br /><div>Contestants can enter via Submittable, a link to which is available on our <a href="http://bhreview.submishmash.com/submit/">website</a>. Please make sure your address and contact information on Submittable are up to date. Your name should not appear anywhere on the manuscript.</div><br /><br /><div>We also accept mailed entries. Please include a SASE and a 3x5 index card with the following information: your name, the title of the piece, your email address or phone number.</div><div><br /></div><div>For more information, please visit our <a href="http://www.bhreview.org">website</a>.</div><div><br /></div><div>We look forward to reading your work!</div><div>Marilyn</div><br /><br /><br /><br /><div></div>marilyn v brucehttp://www.blogger.com/profile/01390626105588483432noreply@blogger.com0tag:blogger.com,1999:blog-8129823766667020526.post-61115419055291685632011-11-24T07:20:00.000-08:002011-11-24T07:55:39.649-08:00Why I love poets (or at least Robert Hass and Brenda Hillman)University of California, Berkeley's famous poet (and former poet laureate) Robert Hass has been showing his support of the Occupy movement. This first <a href="http://www.poetryfoundation.org/harriet/2011/11/former-poet-laureate-robert-hass-pushed-around-by-police-at-berkeley-protests/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+HarrietTheBlog+%28Harriet%3A+The+Blog%29">link</a> shows Hass getting pushed around by police, as he and fellow faculty, students, and supporters of the Occupy movement formed a human chain to safeguard occupiers from the police.<div>The second link is to Hass' New York Times <a href="http://www.nytimes.com/2011/11/20/opinion/sunday/at-occupy-berkeley-beat-poets-has-new-meaning.html">article</a> about this incident, how he and his wife, the poet Brenda Hillman, arrived at the campus to protect the students from police brutality--Hass gives a chilling description of the violence used by police. He also critiques the state's neglect of education and unwillingness to pay more in taxes to fund the university.</div><div>Way to go Hass! </div>marilyn v brucehttp://www.blogger.com/profile/01390626105588483432noreply@blogger.com0tag:blogger.com,1999:blog-8129823766667020526.post-71747654133197812852011-11-22T10:20:00.000-08:002011-11-22T10:37:13.246-08:00Rochelle Hurt discusses "Uncle Al"The author of "<a href="http://www.bhreview.org/piece/uncle-al/">Uncle Al</a>," Rochelle Hurt, offered us a few thoughts on this flash fiction story, its origin, and the significance of the phrase <em>pena ajena</em>. "Uncle Al" recently appeared in the first online, short form issue of <em>Bellingham Review</em>.<br /><br /><br />While watching an Academy Award winner give a particularly crass and awkward acceptance speech on television, a friend of mine used the term ‘pena ajena’ (sometimes called Spanish shame) to describe how embarrassed she was for the blathering actress. I started to think about all of the instances in which a phrase like that would be appropriate, and I kept returning to the idea of pity. Feeling another’s embarrassment seems like a manifestation of aggressive pity more than sympathy, almost as if you are forcing your own fear of shame upon that person. This happens all the time, but I find it most interesting when the exchange between the pitied and the ‘pitier’ is complicated by an unexpected power dynamic. In ‘Uncle Al,’ the narrator is just old enough to adopt the values of most of the adults around her, which tell her to feel embarrassed for her uncle, who still acts like a child and wears cheap clothing. Although she is not quite old enough to realize the true source of the shame that she has adopted for her uncle, she finds it almost by accident, as children often do, when she confronts his childlessness at the family lunch table. Though the question is never answered, she immediately learns that this too should be a source of shame, according to adult cultural norms, as she witnesses the entire table’s sense of <em>pena ajena</em> for Uncle Al.<br />-Rochelle Hurtmarilyn v brucehttp://www.blogger.com/profile/01390626105588483432noreply@blogger.com1tag:blogger.com,1999:blog-8129823766667020526.post-46985015762906447882011-11-21T09:36:00.000-08:002011-11-21T13:34:38.017-08:00Thoughts on "Drafting the Beast"Joe Bonomo, author of "<a href="http://www.bhreview.org/piece/drafting-the-beast/">Drafting the Beast</a>," a short form that recently appeared in our online edition of <em>Bellingham Review </em>shared with us a small piece about the origins and writing experience of "Drafting the Beast."<br /><br /><br />Air conditioning fascinates me. It changes things, and changes us as we move through the air. AC creates boundaries and divisions—between me and the heat, between the basement and the attic, between the house and the yard, between the calm and the crazed. I read recently in a novel where a character couldn’t imagine another character as a kid; I have difficulty imagining generations before AC. We lived in an un-air-conditioned house for many years, but all the while I knew that AC existed somewhere out there, and could begin humming for me as soon as my luck changed.<br /><br />I wrote “Drafting the Beast” as a response to AC, and more generally to the suburban experience, from where many of my prose poems and essays originate. The piece explores a few memories that I can’t shake. One is of lifting my buried hand out of sand and noting how the sand that remained created a kind of outline of bones, a skeletal silhouette. Humans are animals, creatures behind our skin, and when, as a kid, I did as so many kids do and drew an outline around my hand to render a barnyard animal, something sparked inside. Questions I asked before I realized I was asking: Is my hand a microcosm for a turkey? Am I drawing a kindred spirit? Is there an animal in my hand?? In bed that night, I played a favorite game: pressing down my thumbnail until it turned white, what I pretended was light coming from somewhere inside of me, a natural source of luminosity illuminating a dark room.<br /><br />In “Drafting the Beast” I essay the feral body. That body contains light, and can speak in sounds familiar to the speaker but also foreign. When I’d walk into our air-conditioned house as a kid, I’d step between and among all of these identities that the body owns, and imagines, slipping from wild to suburban, from animal to human, and back again.<br />-Joe Bonomomarilyn v brucehttp://www.blogger.com/profile/01390626105588483432noreply@blogger.com1tag:blogger.com,1999:blog-8129823766667020526.post-66341249215460809602011-11-18T11:34:00.000-08:002011-11-18T12:07:26.137-08:00New Pages Review<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEDv_-wf8Kb55KWQqBI7DJMyb_U5GaeaH_NgWrtf1DPNzZHf7gWGdU0ds-e1dCfw5ElD8u0PCp1PE6yLeifFglqRZr4rvSiGDIN2_1t11ht5f3_2RNognkfJZnhnCfBlllEn9MEeUYDVGw/s1600/New+Pages+image.bmp"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 320px; FLOAT: left; HEIGHT: 272px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5676429606397627170" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEDv_-wf8Kb55KWQqBI7DJMyb_U5GaeaH_NgWrtf1DPNzZHf7gWGdU0ds-e1dCfw5ElD8u0PCp1PE6yLeifFglqRZr4rvSiGDIN2_1t11ht5f3_2RNognkfJZnhnCfBlllEn9MEeUYDVGw/s320/New+Pages+image.bmp" /></a><br /><br /><br /><div><br /><div><em>Bellingham Review</em> recently received a complimentary review in <em>New Pages. </em>The website provides details on our latest print issue (Spring 2011) and the works published in this edition. Click <a href="http://www.newpages.com/literary-magazine-reviews/2011-11-15/#Bellingham-Review-v34-i63-Spring-2011">here </a>to read the full article. </div><br /><br /><br /><br /><div></div><br /><div>Many thanks to <em>New Pages</em> for their support! </div><br /><div>Marilyn</div></div>marilyn v brucehttp://www.blogger.com/profile/01390626105588483432noreply@blogger.com0tag:blogger.com,1999:blog-8129823766667020526.post-2892676619572270462011-11-16T09:43:00.000-08:002011-11-16T17:07:16.231-08:00A few words from the author of "Requiem in Laramie"Kevin Simmonds, author of "<a href="http://www.bhreview.org/piece/requiem-in-laramie/">Requiem in Laramie</a>," a prose poem recently published in our short form, online edition of <em>Bellingham Review</em> shared with us a meditation on his poem and its significance.<br /><br /><br />We have such short memories. Soul-grabbing atrocities only momentarily command our attention and call our consciousness to larger responsibilities.<br /><br />I'd like to think that art can be a residue, a re-membering that plays as refrain inside us. My poem "Requiem in Laramie" is relatively short and, I hope, tiny enough to aggravate memory without calling too much attention to itself.<br /><br />The poem is for us, not Matthew Shepard. The mother and the missing child are many of us or people we've known or heard about. The poem is representation of something else, a stand in. That's not to say it isn't fully itself as a poem, a piece of artwork. But I swear I've failed in many ways if that poem is only about itself.<br />-Kevin Simmondsmarilyn v brucehttp://www.blogger.com/profile/01390626105588483432noreply@blogger.com1tag:blogger.com,1999:blog-8129823766667020526.post-16489470897650684552011-11-02T11:00:00.000-07:002011-11-09T14:50:52.609-08:00Out first online issueHello readers, <br /><div>We're pleased to announce that our first online issue in short forms will be published November 7, on our new <a href="http://www.bhreview.org/">website</a>. Check out the issue for work by Jessie van Eearden, Mark Wagenaar, Anne Kaier, Robert Miltner, and more!</div>marilyn v brucehttp://www.blogger.com/profile/01390626105588483432noreply@blogger.com0tag:blogger.com,1999:blog-8129823766667020526.post-39295427391890450752011-11-02T10:30:00.000-07:002011-11-02T11:00:01.584-07:00Poets and WritersHey everyone,<div>Our Editor-in-Chief, Brenda Miller is featured in the latest issue of<i><a href="http://www.pw.org/magazine"> Poets and Writers</a></i>. She and the editors of three other journals were interviewed for a discussion on literary publication. </div><div>Check it out!</div>marilyn v brucehttp://www.blogger.com/profile/01390626105588483432noreply@blogger.com0tag:blogger.com,1999:blog-8129823766667020526.post-5538261010948730162011-09-25T08:50:00.000-07:002011-10-03T16:39:30.875-07:00Writing the other<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDAC3adfBFJ_CCT-TXG0TdaV-XDGfTmu89Ht68RE9VwdUCyCLY1oRrh-RBE-WTiTJg9QV-WmiSXF9QZU8psy0TlhT2ZUbqU4PMZr12kFXg7p72u-XfbzI6b0ycJfQn0IAWQ2b-KUU_IZB0/s1600/Tsavo.jpg"><span style="font-family:times new roman;"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 320px; DISPLAY: block; HEIGHT: 240px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5656363446450807106" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDAC3adfBFJ_CCT-TXG0TdaV-XDGfTmu89Ht68RE9VwdUCyCLY1oRrh-RBE-WTiTJg9QV-WmiSXF9QZU8psy0TlhT2ZUbqU4PMZr12kFXg7p72u-XfbzI6b0ycJfQn0IAWQ2b-KUU_IZB0/s320/Tsavo.jpg" /></span></a><span style="font-family:times new roman;"><br /><br /><br /><br /></span><br /><div><span style="font-family:times new roman;"><b>Writing the Other</b><br /></span></div><span style="font-family:times new roman;">Because of my interests as a writer (and an occasional critical scholar) I oftentimes find myself in a tricky subject position--as someone who wants to write <em>about</em> the other, without actually <i>being </i>an other. While I suppose that I am marginalized in the sense of being female, the rest of my experiences typify white, middle-class America. So I start to feel uncomfortable, or insensitive, when I write stories with characters whose place in the world is less secure than my own (either because of their geographic location, race, religion, sexual orientation, or class). I feel like a fraud, a phoney. I worry that I am objectifying and exoticizing someone who is historically disempowered or that I am embarrassingly ignorant regarding experiences that are different than my own. As a writer, I struggle with my desire to tell important stories, but I also want tell stories authentically. How can I do both of these things? How can I write about a culture or group of people to which I don't belong?<br /><br /><i>Publishers Weekly</i> recently posted an </span><a href="http://blogs.publishersweekly.com/blogs/genreville/?p=1519"><span style="font-family:times new roman;">article</span></a><span style="font-family:times new roman;"> about the intentional exclusion of gay characters in YA Literature, and a friend of mine responded to this article on Facebook. She wrote: "I've always wanted to write a gay character, but because I'm not gay, I feel that I don't have the authority." Apparently I'm not alone. It seems that certain stories are exclusive. We think that they can only be told by certain authors, and those authors must belong to the group they are trying to represent. Otherwise the work is crude or inaccurate.<br /><br />To give another example, while perusing the Internet for publications that might be interested in my work, I noticed that <em>Jersey Devil Press</em> offers a </span><a href="http://www.jerseydevilpress.com/?page_id=73"><span style="font-family:times new roman;">behind the scenes</span></a><span style="font-family:times new roman;"> take on the editor's preferences. One of Monica's "justifiable grounds for homicide" is men who write as female narrators. To be fair, Monica qualifies that statement, writing that the reason for her disdain is the number of offensive submissions her press receives, stories in which male writers rely on chauvinist cliches or sexist stereotypes. Still, I somehow feel that by making certain subjects exclusive, we're promoting the same problematic boundaries.<br /><br /></span><br /><div><br /><div><br /><div><br /><div><span style="font-family:times new roman;">I'm interested in this question of who "owns" the right to marginalized content because I am currently at work writing my thesis, a collection of short stories centered around the 2007-8 election crisis in Kenya. I'm not Kenyan, nor am I of African ancestry, and as I work through this project, I've begun to question my right to tell this story. I wasn't there. As I said, I'm not African, and I don't have much (any) experience with political unrest. Part of me wants to stop writing about Kenya, for all of these reasons that make me feel small and somewhat ignorant, but I also think that it's wrong for Literature to have exclusive subjects, for it to have boundaries, or limits.<br /></span></div><br /><br /><div><span style="font-family:times new roman;">I don't really have an answer to the question of whether or not it's okay to write about the other, but because it's been bothering me, I thought I would put my thoughts out there.<br /></span></div><br /><div><span style="font-family:times new roman;">Marilyn</span></div></div></div></div>marilyn v brucehttp://www.blogger.com/profile/01390626105588483432noreply@blogger.com3tag:blogger.com,1999:blog-8129823766667020526.post-26562207896591842732011-09-19T17:37:00.000-07:002011-09-19T18:05:57.841-07:00Congratulations to Colin Rafferty<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimKs1aN3ssLPGvvCAofdM8vFe3k-sHNdm5lnaShyphenhyphen2fc5YfpfWBv9VIB2H45OhjCsGlX4RqOdDj0RcR_GUxFyOBTRUTPjR3SROF-cvYUkWoEZFERxHM-0s4o6eQpI9U_pJ6nZKQI1sBq-zV/s1600/Utne+cover.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 125px; height: 164px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimKs1aN3ssLPGvvCAofdM8vFe3k-sHNdm5lnaShyphenhyphen2fc5YfpfWBv9VIB2H45OhjCsGlX4RqOdDj0RcR_GUxFyOBTRUTPjR3SROF-cvYUkWoEZFERxHM-0s4o6eQpI9U_pJ6nZKQI1sBq-zV/s320/Utne+cover.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5654240352566325922" /></a><br />Hey Bellingham blog followers,<div>I wanted to let you know that Colin Rafferty's essay, "Phantoms (A Correspondence)" will be republished in this November/December issue of <i>Utne Reader</i>. <i>Bellingham Review</i> is thrilled that we had the chance to publish this work first, and we are so excited for Rafferty. </div><div><br /></div><div>I love <i>Utne Reader. </i>Their insightful essays leave me feeling intellectually invigorated with the turn of each page.</div><div>I hope you will enjoy seeing Rafferty's essay again in the pages of this excellent magazine.</div><div>Cheers,</div><div>Marilyn</div><div><br /></div><div><br /></div>marilyn v brucehttp://www.blogger.com/profile/01390626105588483432noreply@blogger.com0tag:blogger.com,1999:blog-8129823766667020526.post-31839881614322272612011-09-15T11:09:00.000-07:002011-09-15T11:23:28.851-07:00We are now accepting electronic submissionsDear readers,<br /><em>Bellingham Review</em> is pleased to announce that we are now officially accepting electronic submissions via Submishmash. <a href="http://bhreview.submishmash.com/submit">http://bhreview.submishmash.com/submit</a><br /><br />This is part of our transition to accepting only electronic manuscripts. We hope to have made the switch to only electonic submissions by the beginning of the next academic year, 2012-2013.<br /><br />As much as we appreciate the beauty of story, essay, or poem captured on a clean, crisp piece of paper, we 've decided to go digital because of the ease of the online submission process. Thanks Submishmash!<br /><br />We hope that all of our readers enjoy this new, streamlined submission process. As an editor, I can say that I look forward to reading your digital submissions. If you have any questions regarding the submission process, please review the submission guidelines available on our website, or feel free to send me an email at <a href="mailto:Bellingham.Review@wwu.edu">Bellingham.Review@wwu.edu</a><br /><br />Cheers,<br />MarilynBellingham Reviewhttp://www.blogger.com/profile/01186297923154102833noreply@blogger.com1tag:blogger.com,1999:blog-8129823766667020526.post-59419186055374899712011-08-08T10:49:00.000-07:002011-08-08T10:52:21.924-07:00New Submission GuidelinesHey Everyone,
<br />Bellingham Review is now accepting electronic submissions. Check out the new submission guidelines on our website!
<br /><a href="http://www.wwu.edu/bhreview/submissions.shtml">http://www.wwu.edu/bhreview/submissions.shtml</a>
<br />marilyn v brucehttp://www.blogger.com/profile/01390626105588483432noreply@blogger.com0tag:blogger.com,1999:blog-8129823766667020526.post-86752617471391963942011-06-27T12:05:00.000-07:002011-06-27T12:16:32.665-07:00Contest Winners<strong>Congratulations to our 2011 contest winners! </strong><br /><strong></strong><br /><strong>Annie Dillard Award in Creative Nonfiction</strong><br />Jay Torrence<br /><br /><strong>The 49th Parallel Award in Poetry</strong><br />Jennifer Militello<br /><br /><strong>The Tobias Wolfe Award in Fiction</strong><br />Lauri M. Anderson<br /><br />For more information on out contest finalists and the latest issue of <em>Bellingham Review</em>, check out our updated website.<br /><a href="http://www.wwu.edu/bhreview">http://www.wwu.edu/bhreview</a><br /><br />Marilynmarilyn v brucehttp://www.blogger.com/profile/01390626105588483432noreply@blogger.com0tag:blogger.com,1999:blog-8129823766667020526.post-32084470177487271482011-02-25T15:37:00.000-08:002011-03-02T16:59:24.363-08:00Contests ReminderHey Loyal Blog Readers,<br />
<br />
I wanted to remind you about our annual contests. The deadline is coming up on March 15th (postmark deadline). We have prizes in fiction, nonfiction, and poetry, each worth $1000. For more information and complete guidelines, see: <a href="http://www.wwu.edu/bhreview/contestsubmissions.shtml">http://www.wwu.edu/bhreview/contestsubmissions.shtml</a><br />
<br />
Thanks a lot. We look forward to reading your entries.<br />
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Cheers,<br />
ChrisUnknownnoreply@blogger.com0