HAITI: Haiti’s Founding Document Found in London > from NYTimes.com

Haiti’s Founding Document Found in London

There is no prouder moment in Haiti’s history than Jan. 1, 1804, when a band of statesmen-warriors declared independence from France, casting off colonialism and slavery to become the world’s first black republic.

Haiti's Declaration of Independence, discovered in the British National Archives.

Related

They proclaimed their freedom boldly — “we must live independent or die,” they wrote — but for decades, Haiti lacked its own official copy of those words. Its Declaration of Independence existed only in handwritten duplicate or in newspapers. Until now.

A Canadian graduate student at Duke University, Julia Gaffield, has unearthed from the British National Archives the first known, government-issued version of Haiti’s founding document. The eight-page pamphlet, now visible online, gives scholars new insights into a period with few primary sources. But for Haitian intellectuals, the discovery has taken on even broader significance.

That the document would be found in February, just weeks after the earthquake that killed so many; that its authenticity would be confirmed in time for the donor conference that could define Haiti’s future — some see providence at work.

“It’s a strange thing in the period of the earthquake we find the first document that made the state,” said Patrick Tardieu, an archivist at the Library of the Fathers of the Holy Spirit in Port-au-Prince. “People were searching for this for a very long time.”

Indeed, decades ago, Haiti’s leaders went hunting for a declaration they could call their own for the country’s 150th anniversary. Researchers combed Haiti’s libraries. Newspapers in the United States, which printed full versions of the declaration when it was made, were also considered a possible source.

But the originals seemed to have been thrown out or destroyed. In December 1952, the Haitian intellectual Edmond Mangonès wrote to his country’s Commission of Social Sciences to report that “the mystery of the original of our national Declaration of Independence” had not been solved. “All searches to date have been in vain,” he said.

Enter Ms. Gaffield, 26. She said she fell in love with Haiti while at the University of Toronto. It was 2004, Jean-Bertrand Aristide had just been ousted, and after a trip to Haiti, where she worked with street children, she decided to study its origins as a nation.

That eventually took her to Duke University, and last year, to the National Archives of Jamaica in Kingston. There, she found a letter from a British official who had just returned from Haiti around the time of its revolution.

“He wrote a letter to the governor saying, ‘Here is this interesting document that I received when I was in Haiti,’ ” she said. “And he said the declaration ‘had not been but one hour from the press.’ ”

The document he mentioned, though, was missing. She headed for London. On Feb. 2, she found herself poring through the leather-bound binders of Britain’s National Archives. About 100 pages into the book of Jamaican records from 1804, she came across a delicate, yellowed set of pages.

“What I first noticed was across the top it said, ‘Liberté ou La Mort,’ ” she said. There were a few differences from the accepted text of Thomas Madiou, the 19th-century historian who wrote a definitive, multivolume history of the country. Haiti was spelled Hayti in the pamphlet, for example, and in one sentence, Mr. Madiou seemed to have seen “idéux” (ideals) when the print shows it to be “fléaux” (ills).

The bottom of the last page read “De l’Imprimerie du Gouvernement.” That made it the official declaration historians had been looking for. In the hushed London library — even cameras snapping photos of important documents must be on silent mode — Ms. Gaffield could only smirk.

“Being very excited in a document reading room is a bit of a challenge,” she said. “You have to keep it all inside.”

Later that day, she e-mailed her Ph.D. advisers at Duke. They were thrilled. “It is a lost treasure,” said Deborah Jenson, a professor of French who has been overseeing Ms. Gaffield’s research. “This is really the first copy that is directly tied to the Haitian government.”

Professor Jenson said no manuscript version of the declaration with signatures — along the lines of the United States’ document — seemed to have existed. Jean-Jacques Dessalines, Haiti’s revolutionary leader, delivered the declaration as a speech on Jan. 1, 1804, and then had it printed over the next few months. Historians believe that he and others overlooked documentary preservation because they were too worried about another French invasion.

“They were building forts,” said Prof. Laurent M. Dubois, a historian of Haiti at Duke. “It’s part of the larger story: that Haiti knew it was going to be isolated, it knew it was attacking this broader social order.”

He said the pamphlet showed that Haiti was intent on sending out the declaration to get the world to understand its position. “This was a gesture of reaching out, of saying, ‘We have these grievances, and we have decided we have to be independent, to refuse and resist this social order we have lived under,’ ” Professor Dubois said. “They wanted recognition.”

That is exactly what some Haitians hope Ms. Gaffield’s find will bring to Haiti today. Mr. Tardieu said he dreamed of seeing the document returned to its home — “it would be the greatest gift,” he said — while others are praying that its discovery alone will reawaken the world to Haiti’s strong sense of self-determination.

“In the context of the Haitian tragedy, it is important for Haitians and the rest of the world to remember the independence of Haiti,” said Leslie Manigat, a historian who briefly served as Haiti’s president in 1988.

“We must recover,” he said, shouting in order to be heard through a phone in Port-au-Prince that cut out repeatedly. “We must find an alternative to the traditional meaning of independence, now, in the new world.”

 

EVENT: Washington, DC—Julie Dash at Sankofa Books in D.C. Tuesday April 6 > from Shadow And Act

Julie Dash at Sankofa Books in D.C. Tuesday April 6

For all our readers in the Washington D.C. area, here’s an upcoming CAN’T MISS event. Director and screenwriter Julie Dash (Daughters of the Dust) will appear in person at Sankofa Video & Books to discuss her filmmaking career, and will be also signing DVD copies of Daughters of the Dust. (And I’m sure she’ll have some strong opinions too about Precious and Tyler Perry which no doubt are bound to come up). The event will be on Tuesday April 6th starting at 7:30PM, and Sankofa Video & Books  is located at 2714 Georgia Ave NW in Washington DC. Perhaps one of our DC readers could give us a report about it after the event. We sure would

 

INFO: Young, Black and Newly Positive? 5 Things You Need to Know > from Black AIDS Institute










First Published: 3/29/2010     

Young, Black and Newly Positive? 5 Things You Need to Know

By Marvelyn Brown

In February I had the honor of delivering the keynote speech at the "LIFE (Leaders in the Fight to Eradicate) AIDS Black Student Mobilization Summit" at Clark Atlanta University. The conference educated Black college students about HIV/AIDS; created comfortable dialogues about sex and sexuality; and encouraged young people to become activists on campus, in their communities and within their social networks to help us end the AIDS epidemic.

As happens after about 75 percent of my speaking engagements, a young person whispered to me that they, too, were HIV-positive. Because of time constraints and confidentiality issues, I'm usually unable to talk to the person at that moment, so I usually just jot down my contact info or give them a business card. But if I could talk to them or any other newly diagnosed young Black person, here's what I would tell them:

1. HIV is a noun, not an adjective. It does not describe or define who you are. You were somebody before HIV, and you are somebody now. Your character did not change; your awareness of your health status did.

2. HIV is a serious virus, so do not take it lightly. It does not waste time before attacking your immune system, so you can't waste time by letting it get a head start. Although the disease can't be cured, it is manageable and treatable. This takes complete cooperation and participation from you and may require you to step outside the box--out of your comfort zone. Taking HIV medication is only half the battle; maintaining a positive attitude and keeping stress to a minimum are also important. I suggest finding a hobby that includes body movement, and seeing a therapist to help you cope.

3. You have to be responsible for your virus. From the beginning, you have to be 100 percent committed. Your actions will help determine what HIV will and will not do to your body, and can keep the virus from controlling and consuming your life. For example, choose foods that boost the immune system so that they can join forces with your medicine to help you combat the virus. Also talk to your doctor, and research vitamins that you can take.

4. Behave proactively so that you stay a step ahead of the virus. Find and locate a doctor--usually an infectious-disease specialist--whom you respect and trust enough to talk to about all of your problems and concerns. You will have good days and bad days; days when you want to comply with your treatment regimen and days when you don't. Communicating openly with your physician is important. Health providers will know about your test results, but aside from that, they can help you address only what you choose to share with them.

5. All of these suggestions are easier said than done. Still, nothing and no one but you can hold you back from carrying them out.

No matter who you are or how you became infected with the virus, I want you to know that you are greater than AIDS. You can live a fulfilling life that overcomes this disease.

Marvelyn Brown, the author of The Naked Truth: Young, Beautiful, and (HIV) Positive, has been living with HIV for seven years.

 


Marvelyn Brown, a 25-year-old native Tennessean, was diagnosed with HIV at age 19. Since then she has moved both live and television audiences around the United States, Canada, Jamaica, Mexico, South Africa, Tanzania and Rwanda with her compelling personal story. Brown has spoken at over 100 colleges and universities nationwide. She is currently the CEO and an Independent HIV Consultant for, Marvelous Connections. Her humanitarian work earned her a 2007 Emmy Award for Outstanding National Public Service Announcement. Brown’s autobiography, The Naked Truth:  Young, Beautiful and (HIV) Positive, was published by Amistad/HarperCollins in 2008.

Brown has had extensive radio and television experience – some highlights include The Oprah Winfrey Show discussing HIV/AIDS in America and the rising infection rate among women, CNN's Documentary Black In America hosted by Soledad O'Brien and the rising infection rate among women, America’s Next Top Model, MTV, BET, The CBS Early Show, The Tavis Smiley Show, The Tom Joyner Morning Show, The Michael Baisden Show, and The Tyra Banks Show. In addition, she has been featured in Newsweek, U.S. News and Report, Fortune 500, Ebony, Black Beat, Essence, and she appeared on the covers of A&U, POZ and the AVE. She lives in New York, NY.

 

 

 

VIDEO: The History Of Racism (The Color of Money: Colonialism and the Slave Trade) > from Shadow And Act

The History Of Racism (The Color of Money: Colonialism and the Slave Trade)

Reaching back across the centuries, this BBC documentary sheds light on historical attitudes toward human differences. It assesses the significance of Biblical narratives in the evolution of European concepts of race, and goes on to examine the basis of institutionalized racism – entwined with capitalism – on which the transatlantic slave trade operated. The destruction of Americas indigenous civilizations and the dehumanization and exploitation of Africans are studied, alongside the writings of Enlightenment philosophers and historians.

Part 1

 

Part 2

Part 3

Part 4

Part 5

Part 6

www.slaveryinamerica.org.jpg">www.slaveryinamerica.org" class="alignnone size-medium wp-image-17989" src="http://www.shadowandact.com/wp-content/uploads/2010/02/slave_trade_1650-1860_b-www.slaveryinamerica.org-300x175.jpg" height="175" alt="slave_trade_1650-1860_b - www.slaveryinamerica.org" width="300" />

 

VIDEO: Sara Baartman Colloquium — Africana Research Center, Penn State

Sara Baartman Colloquium

On March 1, 2010, the Africana Research Center and the Institute for the Arts and Humanities presented "The Meanings of Saartje (Sara) Baartman" as part of the Moments of Change series.

 Watch the Colloquium on CNet!

Part 1

Part 2

Part 3

Part4

 

The Meanings of Sara Baartman

 

Speakers

 

Links to works about Sara Baartman

 

Speakers

 

Lewis

Desiree Lewis works at the Women and Gender Studies Programme at the University of the Western Cape.  She has written extensively on questions of feminist research, embodiment and politics.  She is also a board member of the Saartjie Baartman Women’s Centre, a partnership NGO in Cape Town.

 

Abrahams

Yvette Abrahams was born in Crawford, Cape Town, South Africa. She holds a Ph.D in History from the University of Cape Town, dealing with the historiography of race, class and gender with regard to the Khoekhoe (South African Indigenous peoples). She has written extensively on Sara Baartman.

 

keizer

Arlene R. Keizer is an Associate Professor, English School of Humanities and an Associate Professor,African American Studies School of Humanities at UC Irvine. Her research interests include African American literature and culture, Caribbean literature and culture, literary and critical theory, critical race and ethnic studies, feminist theory, and cultural studies.

 

 

sheftall

Beverly Guy-Sheftall is the Anna Julia Cooper Professor of Women’s Studies and English, and the Director of the Women’s Research and Resource Center at Spelman College. She is the editor of Words of Fire: An Anthology of African American Feminist Thought and coeditor (With Rudolph Byrd) of Traps: African American Men on Gender and Sexuality among many other publications.

 

 

Muholi

Zanele Muholi won the Casa Africa award for best female photographer and a Fondation Blachère award at Les Rencontres de Bamako biennial of African photography (2009). She also received a Fanny Ann Eddy accolade from IRN-Africa for her outstanding contributions in the study of sexuality in Africa, at the Genders & Sexualities in Africa Conference held in Syracuse, New York. She has worked as a community relations officer for the Forum for the Empowerment of Women (FEW), a black lesbian organisation based in Gauteng, and as a photographer and reporter for Behind the Mask, an online magazine on lesbian and gay issues in Africa. Her work represents the black female body in a frank yet intimate way that challenges the history of the portrayal of black women's bodies in documentary photography. Source

 

VIDEO: "Going On" | Gnarls Barkley | Music Video | MTV

  1. Gnarls Barkley - "Going On"

    Gnarls Barkley - "Going On"

via mtv.com

 

==============================

The door is engraved with religious texts and various titles used by User

 

Ancient doorway to afterlife discovered in Egypt

CAIRO — A large red granite false door from the tomb of an ancient queen's powerful vizier has been discovered in Luxor, Egypt's culture minister said on Monday.

The carved stone door -- which ancient Egyptians believed was the threshold to the afterlife -- was unearthed near the Karnak Temple in Luxor and belongs to the tomb of User, a powerful advisor to the 18th dynasty Queen Hatshepsut, Faruk Hosni said in a statement.

The door, 1.75 metres (5.7 feet) high and 50 cm (19 inches) thick, is engraved with religious texts and various titles used by User, including mayor of the city, vizier and prince, antiquities chief Zahi Hawass was quoted as saying.

"The newly discovered door was reused during the Roman period. It was removed from the tomb of User and used in the wall of a Roman structure," said Mansur Boraik, who headed the excavation mission.

Hatshepsut, who ruled Egypt between 1479 BC and 1458 BC, was the longest reigning female pharaoh.

Copyright © 2010 AFP. All rights reserved.

 


REVIEW: Book—Sex Trafficking: Inside the Business of Modern Slavery

Siddharth Kara.  Sex Trafficking: Inside the Business of Modern 
Slavery.  New York  Columbia University Press, 2009.  xviii + 298 pp. 
 $24.95 (cloth), ISBN 978-0-231-13960-1.

Reviewed by Meredith Ralston (Mt St Vincent University)
Published on H-Human-Rights (April, 2010)
Commissioned by Rebecca K. Root

A Slave by Any Other Name

This is a provocative book filled with vivid details of modern 
(particularly sex) slavery. The author, Siddharth Kara, is deeply and 
rightly concerned with the sexual exploitation of women and girls 
worldwide and makes a strong case for abolition. Kara does not mince 
words in his condemnation of sex trafficking and his depictions of 
the "slaves" he encountered. He was obviously profoundly affected by 
what he saw and who he talked to, and he wants to convey the sights 
and sounds of human depravity to his audience. This he does with 
mixed results since the constant framing (and naming) of sex workers 
as slaves, though understandable in many contexts, confuses the 
issues of prostitution and actual sex trafficking. 

Similar to Victor Malarek's _The Natashas__: Inside the New Global 
Sex Trade _(2004), though not quite as salacious in its details, _Sex 
Trafficking_ is about the global sex trade, with each chapter devoted 
to the stories of the women and girls who are trafficked, voluntarily 
and involuntarily, to other parts of the globe. Kara begins with a 
call to action for groups, governments, and individuals to "dismantle 
the business of sex trafficking" and is upfront that his account will 
not be objective and emotionless (p. xv). He is open that he was 
shocked and disgusted by what he saw, and he describes his revulsion 
many times throughout the book. This both adds to his account (in its 
honesty) and detracts from it, as he comes across as somewhat naive 
and uninformed. 

What is unique about Kara's book is his attention to the "business" 
aspects of the sex trade and his recognition that money is the 
driving force for everyone involved from pimps to prostitutes, 
traffickers, and governments. His central argument, in fact, is that 
the "enormity and pervasiveness of sex trafficking is a direct result 
of the immense profits to be derived from selling inexpensive sex 
around the world" (pp. 3-4). He is strongest when he describes the 
economics of prostitution and shows how many players benefit from the 
sexual exploitation of women and girls. On the supply side, he argues 
that the main factors for the increased numbers of sex slaves have to 
do with economic globalization, the fall of the Berlin Wall, policies 
of the International Monetary Fund, and gender and caste 
discrimination. On the demand side, he claims that male sexual 
demand, increased profit, and the elasticity of demand are to blame 
because of the decreasing cost of sex. "The cheaper the cost of sex, 
the more men who could afford it, or afford it more often" (p. 34). 
His main solution is to make buying sex so expensive and risky that 
it erodes profitability. 

The middle chapters are descriptions of the geographical regions he 
visited and the stories of people he met in India, Nepal, Italy, 
Western Europe, Moldova, the former Soviet Union, Albania, the 
Balkans, Thailand and the Mekong subregion, and finally the United 
States. He interacted with many slaves, not all of whom were sex 
slaves, but also child laborers, beggars, and construction, 
agricultural, and domestic workers. These are horrific stories of 
abduction, coercion, fraud, and violence, and they speak to people's 
desperation for a better life. He notes the collusion and corruption 
that goes on at many a border crossing and shows how many government 
officials, including police, prosecutors, and border guards are 
complicit in the trafficking of persons. As he argues, there must be 
the political will to fight against this corruption and make people 
understand that the trafficking in persons is just as (if not more) 
harmful than drug and arms trafficking. 

My main criticisms of the book have to do with the author's lack of 
attention to migration versus forced trafficking issues. In some 
cases, the women clearly knew what they were doing and it was for 
immigration reasons that they were voluntarily trafficked. My other 
problem was with his account of organ harvesting, which he mentions 
in the middle of the book with no real evidence. In this section, he 
insinuates that children are being killed for their organs, which if 
true is of course horrific, but with no evidence it seems quite out 
of place except for its shock value. "There is no crime more 
disgraceful than murdering innocent children, profiting from the 
removal of their hearts, livers, kidneys, and eyes, and tossing out 
the remains like refuse" (p. 149). Well, yes, he is correct in this 
assessment. This is so dreadful that it makes what comes before seem 
somewhat innocuous and in doing so takes away from his outrage 
against other forms of slavery. Obviously, more research needs to be 
done on the existence of organ harvesting, immediately. 

That being said, this is an important and necessary work and it will 
educate many people about sex trafficking around the globe. The 
author has many solutions for the problems covered (which is 
refreshing) and these solutions revolve around inverting the 
risk-reward of the economic determinants, educating men, and raising 
the costs of doing business. I like that he comes up with a seven 
point mission for eradicating sex trafficking and that he 
acknowledges the apathy that can happen when we think a problem is so 
overwhelming that it is hopeless. He directly addresses what one 
person can do to make a differenceand those four solutions alone are 
worth the price of the book. 

Citation: Meredith Ralston. Review of Kara, Siddharth, _Sex 
Trafficking: Inside the Business of Modern Slavery_. H-Human-Rights, 
H-Net Reviews. April, 2010.
URL: http://www.h-net.org/reviews/showrev.php?id=25623

This work is licensed under a Creative Commons 
Attribution-Noncommercial-No Derivative Works 3.0 United States 
License.

PUB: Women Who Write poetry and prose contest

Poetry and Short Prose Contest

Annual Women Who Write
Poetry and Short Prose Contest
DEADLINE: May 30, 2010

Entry Guidelines
  • Open to women writers 18 or older.
  • Women Who Write will retain one-time publication rights, after which, all rights revert back to author.
  • Entry must be previously unpublished.
  • Prose limit 3,000 words.  
  • Each poem or story must include a cover page with title of work, author name, address, home phone number, and valid e-mail address (if applicable).
  • To identify each page of your work, use the title set <right> in the header along with the page number. For example: This is my Title - 1
  • Other formatting:
    • Prose and Poetry
      • Microsoft Word .doc format
      • Times New Roman font, size 14
      • Double-spaced
    • Prose Only
      • text <left> justified
      • indent paragraphs one tab
      • double-spaced 
      • no extra space between paragraphs
      • only one space after period at end of sentence
      • default on all other MS Word settings
  • $10 entry fee for initial poem or story submitted; additional entries in the same category are $5 each.
  • Postmark deadline:  May 30, 2010
  • Winners will be notified by mail or e-mail in August. 
  • Members of Women Who Write are ineligible.
  • Submissions will not be returned.

 

Send entries and entry fee to:

Women Who Write
P.O. Box 6167
Louisville, KY   40206

Awards and Recognition:

Short prose and poetry winners receive:

First Place..........$150 and five copies of the current anthology
Second Place.......100 and five copies of the current anthology
Third Place...........75 and five copies of the current anthology

Winners' work is published in Calliope, Women Who Write's annual anthology.
Winners read their poetry and selections from their stories at the awards program.

Copyright © 2005-2010 Women Who Write

PUB: Art Affair: Sponsor of the Poetry, Short Story and Western Short Story Contests

Art Affair Announces The Annual Writing Contest Call for Entries           

 

                  Good luck to all writers who enter!

 

"New" Mystery Short Story rules coming soon.

Contest Deadline is October 1, 2010.

 

 

Art Affair 2010 Poetry Contest Rules


Art Affair's poetry contest is open to any writer. Poems may be any style, any subject,and no more than 60 lines in length. Enter your own original work only. Please do not include a SASE; entries will not be returned. 

Entries must be postmarked by October 1, 2010 and should be unpublished and/or unaccepted for publication when entered into the contest. 

Please type your name, address, telephone number, and title of manuscript on a cover page which will be removed before judging. On your manuscript, type line count in the upper right-hand corner of the first page. 

You may enter as many poems as you wish, but each entry requires an entry fee. 

Prizes: $40.00, $25.00, $15.00 (Prize money and certificates will be mailed to the winners and a list of winners will be published on the website in December 2010.) 

Entry Fee: $3.00 per poem (Make check payable to Art Affair) Deadline: October 1, 2010 

Mail entries to: ART AFFAIR - CONTEST
P.O. BOX 54302
OKLAHOMA CITY, OK 73154

 

Art Affair 2010 Western Short Story Contest Rules


Art Affair’s western fiction contest (maximum: 5,000 words) is open to any writer.  Enter your own original work only. Please do not include a SASE; entries will not be returned.

Entries must be postmarked by October 1, 2010 and should be unpublished and/or unaccepted for publication when entered into the contest. Manuscripts must be double-spaced and in 12-point font.

Please type "Western" and your name, address, telephone number, and title of manuscript on a cover page which will be removed before judging.  On your manuscript, type page/word counts in the upper right-hand corner of the first page. 

You may enter as many western short stories as you like but each entry requires an entry fee.

Prizes:  $50.00, $25.00, $15.00 (Prize money and certificates will be mailed to the winners and a list of winners will be published on the website in December 2010.)

Entry Fee:  $5.00 per manuscript (Make check payable to Art Affair) Deadline:  October 1, 2010             

 

 

 

 

 

Mail entries to: ART AFFAIR - CONTEST (Mark your entry "Western")
P.O. BOX 54302
OKLAHOMA CITY, OK 73154

 


Art Affair 2010 (General) Short Story Contest Rules

 

 


Art Affair’s short fiction contest (maximum: 5,000 words) is open to any writer.  Enter your own original work only. Please do not include a SASE; entries will not be returned.

Entries must be postmarked by October 1, 2010 and should be unpublished and/or unaccepted for publication when entered into the contest. Manuscripts must be double-spaced and in 12-point font.

Please type your name, address, telephone number, and title of manuscript on a cover page which will be removed before judging.  On your manuscript, type page/word counts in the upper right-hand corner of the first page. 

You may enter as many short stories as you like but each entry requires an entry fee.

Prizes:  $50.00, $25.00, $15.00 (Prize money and certificates will be mailed to the winners and a list of winners will be published on the website in December 2010.)

Entry Fee:  $5.00 per manuscript (Make check payable to Art Affair) Deadline:  October 1, 2010             

 

 

 

 

 

Mail entries to: ART AFFAIR - CONTEST
P.O. BOX 54302
OKLAHOMA CITY, OK 73154

 

 

PUB: SUNPENNY CHRISTIAN SHORT STORY COMPETITION

2010 CHRISTIAN WRITERS' 

SHORT STORY COMPETITION


This competition is open to Christian writers around the world, of any age or experience level. Entries should have a distinct Christian theme or message, the stronger the better. C
hristian fiction is a very under-utilized tool that can reach out to non-Christians, and uplift and guide believers. It plants seeds; it waters seeds; it nurtures, if properly used. Christian fiction is not only an outlet for God-given creativity, it allows us to blossom in something we love while at the same time carrying out the Great Commission and honouring our Lord.
 

Prizes # Deadline # Fees # Critiques # Guidelines # Formatting # Rules

Enter # Payments # Addresses

PRIZES: First prize £150; second prize £75. Third prize is two of our books. Winning and Commended entries will be included in an Anthology. Note that if there are enough entries, prizes may rise in value.

DEADLINE FOR ENTRIES: Final entries must be with us no later than the 30th April 2010. Winners will be announced at the end of June 2010.

ENTRY FEE:  £4.00 / US$8.00 / ZAR40.00 (special allowance for Africa) per entry. This can be paid either online (see bottom of page), by cheque/check, or by deposit into one of our bank accounts (USA, South Africa, UK). Fees are NOT refundable - please ensure you read the rules carefully. If you are paying online below, this will automatically be charged at £4.00 - so if you are in Southern Africa, it will be more than we are asking Southern African entrants; we suggest that you email us for our SA bank details, and make a direct deposit - see details at bottom of page.

CRITIQUES: We are not keen on supplying critiques, as this is very time consuming (each critique takes around 3 hours of work, sometimes more). However, we understand that writers often need feedback to help them improve their work, so if you require a professional critique, please make a separate payment for this. Short story critiques are charged at £18.00 (this is roughly just £6/hr); however, we cannot undertake to do critiques for competition entries until after the judging is over, to maintain strict fairness.

GUIDELINES:

  • This competition is OPEN to anyone, of all ages and levels of experience. We are also running an "Open Short Story" competition. For children aged up to 15, please see our "Young Writers" competition page.
  • Please DO NOT enter stories written for children. They cannot be judged equally against stories written for adults.
  • Please be sure you have the rights to enter this competition; entrants take full responsibility for copyright issues. Plagiarism will not be tolerated.
  • Stories may be up to but no longer than 3,000 words, and should have a clear Christian theme and/or message (as opposed to world-view or humanist) - mild Christian is fine, but stronger is better.
  • Please submit by EMAIL, if at all possible. If email is absolutely impossible, then hard copy submissions will be accepted. (Hard copies have to be scanned into our system, which is very time consuming.)
  • Mark entries clearly with the competition title "Sunpenny CHRISTIAN Competition", and submit as below.
  • If you must submit hard copy, PLEASE: do not staple your work. Staples have to be removed for scanning and our fingers and our time both suffer.
  • We acknowledge receipt, and notify winners, by email, so please include an email address. If you do not have an email address yourself, please give us the email of a friend or relative through whom you can be contacted. If entering by post, we can only let you know your entry has been received if you include a stamped self-addressed postcard to be sent back to you.
  • Entries can not be returned, as they have ID numbers put onto every page, and are then scanned for transfer to the judges. They are in no condition to be used again.
  • We accept most file formats: MS Word, OfficeOrg, Wordperfect, RTF, PDF, text, and others. If you send us something we can't read, we'll contact you. Please scan for viruses BEFORE sending!

HOW TO FORMAT YOUR ENTRIES:

  • Please supply a separate page with Title, Entrant Name,  Address, Email, and the entry's Word Count.
  • Each page of the story must have page number and title of the story ONLY. Do not include your name or any other identifier on any page of the entry itself. (All entries are given an ID reference number and separated from the cover page to ensure fair judging.)
  • Entries must be typed on one side of the paper only, and neatly set out as you would a book manuscript (indented paragraphs without gaps). We cannot accept hand-written entries.
  • Please, no fancy fonts! We like good old 12-point Times New Roman, or a similar serif font. We don't like sans-serif fonts like Arial; they are harder on the eyes.
  • As a guideline, we like a good inch of margin on both sides as well as top and bottom. We prefer double spacing.
  • Please check and polish work carefully; unless you have a problem like dyslexia, if your entry is too liberally sprinkled with poor grammar and spelling, and careless typos, it will not be considered for the final judging. Writing is a language craft, and an artist must (a) know their craft and (b) take pride in their work. If you don't care, we won't be inclined to, either! (Exceptions are made for dyslexic or otherwise handicapped entrants; please make a note on your entry if this is the case.)

COMPETITION RULES:

  • Entry submission indicates acceptance of all rules, guidelines, terms and conditions.
  • Stories may be anything up to but no longer than 3,000 words, in any style and on any subject, but they must have Christian content - a theme or a message that is clearly Christian (as opposed to world-view or humanist). They must not promote racism, gratuitous sex or violence, foul language, or anything else that does not conform to good Christian Biblical values (and we get to decide!).
  • The competition is open to anyone worldwide provided that the fee is received in either British Pounds, US Dollars or South African Rands.
  • The competition closes on 30th April 2010, and winners will be announced and displayed on our web site by end of June 2010.
  • Prize winners will be notified by email as well as named on the web site; please ensure you supply a valid email address with your entry, even if sent in by post, unless you do not have one - in which case, please state this on your entry title page. Please also check the web site at the end of June, in case you don't receive an email for any reason.
  • Prizes will be paid via PayPal, cheque/check, deposit into your bank where possible, or any other reasonable, cost-effective method.
  • Prizes must be claimed within 30 days of being published on the web site and contacted by email. After 30 days, prizes will be forfeited.
  • All entries must be written in English. Other languages will not be accepted.
  • You may enter as many different works as you like, as long as each is accompanied by an entry fee.
  • Entries must be in entirety the original work of the entrant, and the entrant must fully own all necessary rights to enter this competition.
  • Writers retain copyright, but give permission for their work to be published on this website at our discretion, and in any one future anthology produced by Sunpenny Publishing or its imprints.
  • The judges' decision is final; no individual correspondence or disputes will be entered into.
  • In extremis, deadlines and any other dates may be postponed by Sunpenny Publishing without notice in order to provide enough time to raise necessary costs through revenue for the competition, or for any other legitimate reason. Likewise in extremis prizes may be adjusted, but our reasons will be good should either of these necessities arise! In the event that we simply don't receive a reasonable number of entries, we reserve the right to cancel the competition and return entry fees.
  • We reserve the right to adjust these rules without notice.
  • Entrants are responsible for completing the submission process effectively. We cannot take responsibility for entries lost in the post or in cyberspace. If you encounter problems, please let us know timeously.

TO ENTER:

Please ensure that you have read all the rules and guidelines above before entering! Submitting your entry indicates full acceptance of these rules; no refunds will be given.

 

PAYMENT OF ENTRY FEES:

Please pay careful attention - if your payment is made out incorrectly, your entry will not be accepted until the payment is corrected.

The entry fees can be paid either online by credit card or account with PayPal, Google Checkout, or Kagi, or through the post by cheque/check or bank deposit (see special note for Southern Africans). If you make your payment online, we should receive a notification automatically, and your entry will be acknowledged by us, manually - if it has not been acknowledged within 48 hours, please contact us; something may have gone astray. Addresses for sending your entries are at the bottom of the page.
 

1. BY POST: CHEQUE/CHECK or MONEY ORDER:
US DOLLAR
checks or money orders
must be made out to M.AMUNDSON.
UK POUND cheques or money orders
must be made out to SUNPENNY PUBLISHING.
ZA RAND cheques or money orders
must be made out to A. HOLLOWAY.
 

POST ALL THESE (but make them out ONLY as above!), with a note stating what competition category you are entering [Open, Christian, or Young Writers] and the title of your entry, to:

Sunpenny Competitions

Staithe View
Horse Fen Road
Ludham
NR29 5QG
UNITED KINGDOM
 


2.
ONLINE: By PAYPAL, GOOGLECHECKOUT, or  KAGI :

Online Payments are via our Storefront: Click here


ADDRESSES YOU WILL NEED:


EMAIL ADDRESS 
FOR DIGITAL FILES ENTRIES (no matter where you are sending from):

competitions-AT-sunpenny.com
(replace the "-AT-" with the
@ sign, no spaces either side).
 

PHYSICAL ADDRESS FOR CDs, DVDs, or HARD COPY (PAPER) ENTRIES:

    Sunpenny CHRISTIAN Competition
    Staithe View
    Horse Fen Road
    Ludham
    NR29 5QG
    UNITED KINGDOM