Check out the following information on our submission opportunities!
- Spring submission period currently open via new Submittable account. Our reading period hasopened via our new submissions platform at Submittable. Though we’ll be charging a nominal fee for this service, we’re promising a much faster turnaround on submissions out of respect to your time and publication goals. The reading period ends May 1, 2014. For more information: https://drunkenboat.submittable.com/
- Launching inaugural Drunken Boat poetry book contest. Drunken Boat seeks entries for our first book contest in poetry, open to any work of poetry in English (hybrid, multi-authored, and translations into English are welcome). Winner receives publication, $500, 20 author copies, a debut reading at AWP and ads in print and online sources. Though we welcome multi-author and translation projects, we can only afford to pay one honorarium (which may be split as authors / translators prefer). Drunken Boat books are distributed by SPD. Excerpts from all finalists judged in house by the Drunken Boat staff will be featured in a special folio in an issue of Drunken Boat, international online journal of the arts. Deadline is June 25, 2014. Judge: Forrest Gander. For more information, visit https://drunkenboat.submittable.com/submit/27945.
- Special Call, Poetry Comix folio. We are issuing a special call for comics, animations, video art and illustrations for a special Poetry Comix folio, to be guest-edited by Michael A. Chaney and Marco Maisto. Along with short animations, we are open to static comix (especially comics poetry) as well as more dynamic, web-based and digital graphic novel constructions. Particularly for comics poetry, we are more interested in work that expresses itself as comics and poetry simultaneously, rather than work that merely illustrates a poem. We want work that makes the relationship between language and art more tense than intuitive, more associative than referentially grounded. The potential crossover between literary and visual art is a rich, ever-expanding horizon, and we’d like to capture snapshots of it in this anniversary issue. So please do send us your best work. If you have poetry or flash fiction in the form of comics or a multimedia/animation project, we want to see it! Deadline is May 15, 2014.
- Special Call, Affrilachian Arts folio. Drunken Boat is also calling for submissions of literary and artistic pieces created by, or inspired by, voices of color from the Appalachian region for an Affrilachian Arts Folio, to be guest-edited by Kalela Williams. We are especially looking for work that juxtaposes place and displacement, questioning and confronting how one shapes cultural and personal identity within a physical setting. Submissions of prose, poetry, art, or performance-based work (such as spoken word poetry) will be accepted. Deadline is May 15, 2014. Submit previous unpublished (or published in a small circulation print journal) work as a Microsoft Word attachment, or audio/video links, along with a short bio, to email@example.com.
In the spirit of my last post, I am opening the literal pages of my notebook as a record of sitting, listening, thinking. Instead of forcing a cohesion of my experiences, I have kept them true to their form and fragmented as an experiment. The notes always seem to suggest that I have more to say, that the readings and performances and studio practice are affecting a profound response, but that it falls just short of articulation. There is never enough time in the moment, and even when I revisit an experience, there might not be enough time to reflect. This record does, however, show that I am constantly living in relation to a constellation of artists and scholars who appear in and disappear from the physical world, but whose impact reappears in my thinking, or somewhere in my body-mind that writing might not be able to access.
The following notes were written right before leaving places like the Poetry Project or my rehearsal space in Long Island City, or on an L or J train back to Brooklyn late at night. At that point, usually everyone is drunk, wandering into the car. I might or might not be. I take out my notebook and attempt to hover over it without anyone shoving themselves into me, or falling over my lap. I write somewhat legibly, I don’t care if people can read it over my shoulder, or while looking down on it from the railing. Nothing is more private than being surrounded by people who don’t give a shit what you’re doing. Sometimes this is magic, and sometimes someone does fall on me, or some guy squeezes in next to me and spreads his knees out so my notebook is jammed between his knee and my lap, and then it’s just not worth it. Unless I wrote in it on his knee, or on his lap, but at that point I want to get the hell away from that guy. Phenomena like the belligerent-asshole-leg-spread happen to everyone on the train, but not everyone is trying to write something important at a time like that like I am. Then a stranger not giving a shit about you becomes violating. Then I have to stop writing and pray that there will be a time when I get back to that thought. But many times I can’t go back to it.
Various abridged notes from 2.5.14 to 3.31.14
Installation view 945 Madison Avenue, 2014, lens and darkened room by Zoe Leonard. Whitney Biennial 2014, Whitney Museum of American Art, New York, March 7- May 25 2014. Photograph by Bill Orcutt. http://artbooks.yupnet.org
Gregg Bordowitz reading at Poetry Proj
Zoe Leonard – to possess solitude: the fullness of a building
“the forest is a hospital”
“how through patience we become a patient”
“a pronoun blossoming into fragrant dissipation”
I feel like I need to write about Maggie Nelson’s reading.
Was sent into trance.
I never got write about Maggie yesterday. My hip was swollen again.
e-mail. narrative bio. eat.
so much death this month, I can’t believe it.
it was José Muñoz’s memorial this morning. Swelling turned into the familiar hip pain.
…I couldn’t take mourning…
It crept up on me last night and I felt like I needed to hold on
rehearsal day 1:
being alone moving through oppressive scenes
then moving through pastoral scenes
maybe I need to be the voice of the father?
being able to be in a state while eating or taking the train
a mask of hands
pubic bone-chest-head [that is a score for a piece of choreography that I don’t remember]
13 is Venus’ #
lines of Venus create a pentagram
fire and empathic company reduces earth and metal
don’t be wary of dependency it’s ok
*manatee move on the floor*
room was dissolving and everything was the seabed
Thomas McEvilley Memorial at Poetry Proj.
“performance art began with the cynic”
“a mark is made and its meaning is discussed for 50,000 years”
T. M. walked the Great Wall with Marina and Ulay
Marina’s 21 grams: he must have been storing and expired much more than 21 grams of energy because he was limitless
“every self is an other to every other self”
Sunny in the Furnace by Aki Sasamoto. March 6 – 8, 2014 at The Kitchen. Photography by Julieta Cervantes. http://cargocollective.com/akisasamoto
Art O.D. (Armory) but redeemed by Aki Sasamoto’s show at the Kitchen!
I need to write more.
I need to make some more stacked pieces.
Sections I know |________________________| my original story
the overlap narrative parts
Thinking about Jamie with me in the studio. I never wrote about it before.
How can he be set into motion?
And the poem and me?
Me ~ uncontrolled ~ catalyst
how to sit inside something;
sit inside a poem?
or how can J sit inside a dance?
Or how can we sit inside each other’s forms?
shapes of light
My Barbarian performing The Mother and Other Plays, an adaptation of Bertolt Brecht’s The Mother. http://whitneymuseum.tumblr.com
My Barbarian – “The Mother” Whitney Bi
Radical negativity ~ estranged subjectivity
as the nexus
marxism v. modernism
musical |_____________________| class struggle
(Malik Gaines’ voice breaks my heart to bits)
audience member waves flag
we are all the mother
Using my Body!!!!!
3.25 – 3.28.14
[Lists of books for a freelance research project. Some are just authors, some are catalog numbers for NYPL]
Huey Copeland references
Issues in curating cont art perf
JQZ-12-1388 use in lib
no more drama – [what? this is an actual book about theater]
in lib use
yo yo labs drunken boat
danspace project margit galanter
Mucus Factory by Martin O’Brien http://www.londonsartistquarter.org
Acess All Areas: Live Art and Disability at Abrons
chest glitter and red
small vials of mucus
chest beaten to the ribs and the shape of his lungs
strands of mucus from vials across his body through his hair
ventilator up the ass for a very long time
I need to talk about the event at Abrons yesterday and how it affected me.
I need to process the intimacy and the language.
I learned something that I desperately needed, but how do I apply it to my life?
Amanda Cachia, “performing crip time”
reorienting time – queer temporality and crip time renders time queer
body out of joint ~ dislocation ~ creates new definition of time where
liminal positions give an advantage
One Morning in May by Noemi Lakmaier. Photography by Hadar Dawachi. ttps://www.artsadmin.co.uk
“Bedding In Bedding Out” by Liz Crowe
crip aesthetics transform space to fit the body
Carrie Sandahl, “Too Much Information” lecture
passing the word as form of culture
needs as world shaping
Laura Hershey, “we teach each other how to live”
Mat Fraser – create a picture of disability that is not painted by mainstream media
to make an archive so younger artists will exceed him – where is the next generation?
- MARISSA PEREL
Marissa Perel is a Brooklyn based artist and writer. Her working method is interdisciplinary and includes performance, installation, video, text, collaboration and curating. Her work has been widely shown in New York and abroad, and her criticism has been published on many on-line platforms. She originated the column, Gimme Shelter: Performance Now on the Art21 blog, and was an editor of Critical Correspondence, the on-line dance and performance journal of Movement Research. She has contributed to the Performance Club, Bomblog, Bad At Sports, and Tarpaulin Sky, among others. www.marissaperel.com
A MIDRASH WRITING WORKSHOP
with Alicia Ostriker
An opportunity for a one-time workshop with Alicia Ostriker. You don’t need to be Jewish to attend.
Thursday, April 3, 5:00 to 6:30 pm
Drisha Institute for Jewish Education
37 West 65th Street, 5th floor
New York, NY 10023
The role of midrash in Jewish tradition is both communal and personal. When we create new midrash in response to our own spiritual and psychic needs, we are simultaneously adding to and transforming the tradition, growing new twigs on the Tree of Life. This generative workshop is designed for writers and artists who seek to explore Torah as a source for their creative projects, as well as for teachers and therapists who may want to learn how to facilitate the creation of midrash by students and clients.
Alicia Ostriker is a poet, critic and midrashist. Twice a finalist for the National Book Award for poetry, she is also the author ofFeminist Revision and the Bible (1992), The Nakedness of the Fathers: Biblical Visions and Re-visions (1994) and For the Love of God; the Bible as an Open Book (2007). She has received awards from the National Endowment for the Arts, the Guggenheim Foundation, the Poetry Society of America, and the Rockefeller Foundation. Her poetry has been translated into many languages including Hebrew and Arabic, and has appeared in numerous Jewish anthologies and journals. She received the 2010 National Jewish Book Award in Poetry for The Book of Seventy, and was named in a list of “10 Great Jewish Poets” in Moment. A Professor Emerita of English and Creative Writing at Rutgers University, Ostriker teaches a monthly midrash writing workshop in NYC.
WORKSHOP FEE: $20; $10 students
FREE FOR CURRENT DRISHA STUDENTS/ ALUMNAE
For more information, please email Amy Gottlieb: firstname.lastname@example.org
In my daily life, I’m a juggler. I constantly am juggling work—my day job and Kundiman, the nonprofit I co-founded—my marriage, social life, other responsibilities, and writing. Thankfully, I live in New York City and mostly commute by subway; hence, I have a built-in time for reading.
Here are five titles I’m currently juggling.
3 Sections by Vijay Seshadri (Graywolf): idiosyncratic verse that is existential yet conversational; poems that are cantankerous as they are humorous; scientific language colliding with the vernacular. Seshadri is a witty, rollercoaster, fun read.
not so, sea by Mg Roberts (Durga Press): full disclosure, I blurbed this collection, however, upon rereading it I’m struck again by the beauty and experiment of Roberts’ language. She delves into matrilineal discourse, questioning and evoking in her non-lineal fashion, taking on everything from immigration, memory and the intricacies of mother-daughter relationships.
The Stranger’s Child by Alan Hollinghurst (Vintage): I might be overreaching, but Hollinghurst to me is the Jane Austen of our contemporary time, or at least of the gay set. His observation on manners in this sweeping novel is spot on.
Random Family: Love, Drugs, Trouble, and Coming of Age in the Bronx by Adrian Nicole LeBlanc (Scribner): I’m late to this excellent account of the struggles growing up in the South Bronx, one of the most impoverished neighborhoods in the nation. Published a decade ago, set in the 80s, the individuals depicted in the book are around my age, and only by some unknown twist of fate did we arrive at different stations in life. What’s special about Random Family is the depiction and honoring of the subjects’ personal points of view. A heart-rending, important book.
The Sixth Extinction: An Unnatural History by Elizabeth Kolbert (Henry Holt): waiting on the wing, Kolbert is a favorite (science) writer, and I had read an excerpt from this book in The New Yorker. What are we doing to the planet? Are the damages irreversible? Kolbert possesses such skill for dissecting scientific facts and presenting them in lay terms—that even I can understand!
The spotlight comes to rest this week on a vibrant, cheeky prose piece from one of our more recent issues, DB 16, Winter 2012. Click the link below to read “Introducing Colors That Men Can Say Out Loud” by Laura Jane Faulds.
“On the plate in front of her were two kinds of sushi roll: a Red Dragon, and a Green Dragon. She didn’t prefer either of them, but ate a slice of Green Dragon because she’d eaten a Red Dragon last.”
Laura Jane Faulds is a Toronto-based writer of French-Moroccan descent. She currently runs a blog called Strawberry Fields Whatever. Her favorite Beatles song is “Tomorrow Never Knows.”