Call for Papers: Literature and the Stars

Deadline: 15 November 2012

We are inviting submissions for Vol. 17 no 1 (Spring/Summer 2013) on Literature and the Stars. Papers may focus on any time period or culture, and should deal either with representations of astronomy or astrology in fiction, or studies of astronomical or astrological texts as literature. Contributions may focus on western or non-western culture, and on the ancient, medieval or modern worlds.

They should typically not exceed 8000 words length. Shorter submissions are welcome.

Contributors should follow the style guide. Please include an abstract of c. 100-200 words.

All submissions will peer-reviewed for originality, timeliness, relevance, and readability. Authors will be notified as soon as possible of the acceptability of their submissions.

As from Vol. 17 no 1 Culture and Cosmos will be published open-access, on-line, in the interests of open scholarship. Hard copy will be available via print-on-demand.

CONTACT INFORMATION:

For queries/ submissions: editors@cultureandcosmos.org

Website: http://cultureandcosmos.org

 

Major Writing Awards – Poetry, Story, Novel/la

Cinnamon Press Writing Awards

Cinnamon Press competitions have been offering new and established writers excellent publication opportunities for the last seven years. Several authors who have won the competition have gone on to win other prestigious prizes or been short listed for major awards. From autumn 2012 we are re-launching the writing awards to make them even more accessible to a greater number of writers. The competitions in three genres will continue to run twice a year, but with a new pricing structure and new prize structure. We hope that writers will continue to enjoy the competitions and take advantage of the opportunities they provide

 

Poetry Collection Award £150

The aim of this award is to provide a platform for new voices in poetry.

The winning author has his/her poetry collection published with Cinnamon Press and receives an advance on royalties of £150. We have commissioned several other collections as a result of being short-listed. We also publish an anthology of the best poems submitted and all those included will receive a copy of the winners’ anthology. Entrants can also choose whether they would like to automatically include a copy of the anthology with their entrance fee.

Please use drop down menu to select whether you want to pay for the competition only or add a copy of the anthology

Entries

competition only £12.00 GBP competition + anthology £16.00 GBP extra entries £10.00 GBP

 

Short Story Award: £150

The competition is open to new and published authors.

The first prize for a story between 2,000 and 4,000 words is £150 & publication. Up to ten runners up stories’ are also published in the winners’ anthology. All those included will receive a copy of the anthology. Entrants can also choose whether they would like to include a copy of the anthology with their entrance fee.

Please use drop down menu to select whether you want to pay for the competition only or add a copy of the anthology

Entries

competition only £12.00 GBP competition + anthology £16.00 GBP extra entries £10.00 GBP

 

Novel / Novella Award £400

The aim of this award is to encourage new novelists, encouraging debut novel and novella writers to achieve a publication in this genre.

The winning author has his / her first novel published by Cinnamon Press and receives an advance on royalties of £400. We have also commissioned other novels as a result of short-listing in the competition and this a good way to get your work seen.

Entries

competition only £12.00 GBP competition + book £16.00 GBP extra entries £10.00 GBP

 

Guidelines for all Genres

Entrants for the novel/novella and poetry categories should not previously have had a novel/novella or full poetry collection published (those with pamphlets and self published collections are eligible).

 
Short story writers may have previous publications of single stories or story collections or may be new writers, but the story submitted must be unpublished.

 
Entries should be submitted electronically – send as two email attachments – one with the work and the other with contact details – please ensure you have up to date virus protection and send as a .doc or .docx or .rtf file. (If you have problems preventing electronic submission please email for guidance)

Submit the first ten thousand words of your novel/novella or 10 poems up to 40 lines (unpublished) or story of 2,000-4,000 words (unpublished) in a clear type script, double spaced for prose.

Please mark your story/poetry/novel/la with a nom de plume and working title in the header (this is simply for reading purposes to guarantee that all pieces are read blind and judged fairly)

Do not put any other identification on the work, but enclose a separate attachment with name, address, email contact & nom de plume and titles of poems/working title of novel/story title.

Deadlines fall twice a year on 30th June & 30th November. The next deadline is 30th November 2012.

Entry is £12 per entry for all categories. You can optionally add £4 to this to include a copy of the winners’ anthology for the poetry and short story categories, or a novel/la by a previous competition winner for the novel/la category (worth £8.99).

Payments can be made online at www.cinnamonpress.com/ using PayPal
Work will not be returned, so please keep a copy.

Getting to know Astro Saulter

By ARC Magazine

Sunday, November 11th, 2012 

 

Astro Saulter is a  34 year old artist who lives and works in Negril, Jamaica. Astro who suffers from cerebral palsy is mounting his first show titled ‘Astro: The Morning Star’ on the 17th of November at Studio 174 in Kingston. Get to know Astro more through his own words. Thanks to Storm, Nile and Astro for sharing this information with ARC’s community.

 

 

Astro Saulter

 

I have no voice but I am not silent. I use tools beyond my physical body to communicate.  Across the years my voice has been expressed mostly through the written word via a computer, and now, in recent years it has become my artwork, more than words, that has satisfied my deep need to connect with people in an authentic way.

I use my images to tell stories, and capture snippets from my life, share the way that I see them.  People and objects that I encounter in my day or see in the landscape around my home, all get woven into my story.  My artwork is made up of digital sketches with a loud dose of color inspired by the tropical grandeur of my Caribbean surroundings.

The artistic process takes a huge amount of patience because I am dependent on the medium of computer to create my sketches.  There can be unexpected roadblocks that constantly challenge my process, a day that we lose power on our little island road in Jamaica can mean a crashed computer and a whole day or even weeks of work lost.

I truly believe that art is not only something you do and create.  It is also a form of expression, and it can reflect the soul. For me, it has become an exercise in joy and faith. It is a kind of meditation that has opened doors to the way that people understand me. I believe that there is art in each single one of us, and we all have our own unique way of creating art and expressing ourselves through this talent.

We are all artists in some form or another. I hope that all people will truly appreciate, and understand the love and effort that goes into my work. To my fellow artists, keep reaching for the stars, and remember, if we have a vision and a passion for something that we really want to do, we can meet that challenge, and succeed in our dream if we try hard enough. All artists are beautiful people, and we really can make a difference in the world with our work that has a positive impact on people in so many ways.

<iframe src="http://player.vimeo.com/video/43135035?portrait=0" _mce_src="http://player.vimeo.com/video/43135035?portrait=0" frameborder="0" height="283" width="500">

Through the process of creating, I aim to cultivate a deep connection with people around the world.  To celebrate the expression of our individuality in the way in manifests in our artwork and the way we live our lives. I would like to inspire artists and all people to exercise patience and vision and to stay steadfast in their commitment to making their artwork or way in the world.  Whatever the challenge, be it a disability like mine or only a small roadblock in their path I’d like to encourage us all to express our true voice in any way that we can.

I would like to express a special word of thanks to my whole family  and friends for their years of support, and  especially my late mother who was the prime motivator in my life.

Sandile Memela

Lauds Lauretta Ngcobo’s

Prodigal Daughters

(Plus: Launch Gallery)

by Adele on May 29th, 2012

 
The launch of Prodigal Daughters: Stories of South African Women in Exile was held on 23 May at the Mazisi Kunene Foundation in Morningside, Durban. Over 200 guests gathered to admire the literary museum’s rare displays before enjoying a three course dinner, sponsored by eThekwini Municipality, and punctuated with speeches from some of the book’s contributors.

UKZN Press Publisher Debra Primo opened the evening’s proceedings, followed on stage by Lauretta Ngcobo, editor of the collection, and acclaimed storyteller Gcina Mhlophe. Contributors present to offer glimpses of their lives as women in exile included Brigalia Bam, Nomvu Booi, Carmel Chetty and Mathabo Kunene.

This memorable event was captured by photographer Darryl Rowe (see a gallery of his photographs below).

~ ~ ~

The DAC‘s Sandile Memela also congratulated Ngcobo on the publication of Prodigal Daughters and highlighted the importance of female voices in African writing:

Comments from Sandile Memela – Chief Director: Marketing & PR, Dept of Arts and Culture

The publication of Prodigal Daughters is a most significant achievement for black women to define who they are and what they have gone through.

Congratulations to our mother, Loretta whom I love and admire. You know my views about the meaning of her life in the South African literary scene. She is a lamp under the bushel but nobody can keep a good woman down.

I am looking to getting the copy. MaLauretta has, over the years, spoken with passion about this creative enterprise to give voice and visibility to African women who were in exile. She desired to do this on their own terms. These women in the struggle have for far too long been defined through their relationship with patriarchal men. Thus they have always been portrayed as flawed in character, an extension of what men lack. To this day, African women are perceived or portrayed as Cinderella’s jealous cousins who are only interested in monied men so that they can buy shoes and bags.

From the invisibility of being comrades to men who hogged all the power, positions and resources in the name of the struggle, to social agents who championed and articulated human rights much better than their male counterparts, to raising children who would be heirs of struggle victory to being first ladies or wives of cabinet ministers, the story of the African women who gave her life to the struggle has yet be told. It is for this reason that this is a significant achievement in the struggle to get our women to tell their own stories.

MaLauretta is, in her own right, a living example of the African woman’s struggle to not only reclaim her power and spiritual resilience but to re-assert her place as Queen in a hostile culture and world. The book will contribute much clarity to terms of discussion on whether we are ready for a Woman President and perhaps help redefine the role of the woman’s league.

In fact, her book should, presumably, be seen and read as a call to African women to make their voices heard and take the power from men who are, largely, messing up the future of their children.

We are aware that in And They Didn’t Die MaLauretta has written fictionally about her own experiences and those of millions of other African women who not only kept the home fires burning when their husbands were away in jail or mines but how they were in the forefront of the struggle for the return of the land and against dompasses, for instance. This book will, unavoidably, urge women to look critically at themselves and where they come from.

Sorry for the ranting, but this was just a little note to say: “Congratulations to Lauretta Ngcobo, a rare female creative intellectual who has long proved herself more equal than her male counterparts.”

– SANDILE MEMELA

Dutch rebel Tanja Nijmeijer from the Revolutionary Armed Forces of Colombia (FARC) is seen during a press conference at the headquarters of the Cuban agency Prensa Latina in Havana, Tuesday, Nov. 6.

Jorge Pérez/Prensa Latina/AP

 

The Dutch woman who ran away with Colombia's FARC

Tanja Nijmeijer moved to Colombia in 2002 where she joined the FARC guerrillas in their fight against the Colombian state. She will be a part of their negotiating team during peace talks in Cuba this month.

 

By Miriam Wells, Contributor / November 11, 2012

Watch the full interview with the Dutch FARC guerrilla Tanja Nijmeijer. The recording was made in August by Colombian journalist Jorge Enrique Botero. Earlier this month, Radio Netherlands Worldwide also published video footage of Tanja Nijmeijer made by Mr Botero.

 

 

Cartagena, Colombia

Smiling into the camera, a young female guerrilla picked up her guitar and dedicated a song to her family. "Don’t Cry For Me Argentina," Tanja Nijmeijer sang to her parents in Holland, who had not seen her in years.

This scene in a 2010 documentary provided the first images of Ms. Nijmeijer since she abandoned a comfortable life in Holland eight years earlier to fight a communist war against the Colombian state.

This fall, her startling story was brought back into the international spotlight, following the launch of the first official peace negotiations between the Revolutionary Armed Forces of Colombia (FARC) and the Colombian government in more than a decade. Colombia's internal war has persisted for more than 50 years. 

In the run-up to the second phase of talks between the government and the FARC due to start in Cuba on Nov. 15, the FARC announced Nijmeijer would form part of their negotiating team. Apart from being a rare female presence at the peace talks and helping internationalize the rebels' image, Nijmeijer provides unusual insight into the "revolutionary" psyche, and her trajectory from a middle-class European childhood to a spot alongside the FARC’s top commanders can be hard to fathom.

Raised by a close-knit family in a small Dutch town, by the age of 20 Nijmeijer yearned for adventure and responded to an ad in a college newspaper to teach English in the western Colombian town of Pereira. She arrived in 1998, the year the Colombian government agreed to hold new peace talks with the FARC following a series of debilitating large-scale rebel attacks on its forces.

Nijmeijer had a “strong social conscience,” her mother, Hannie Nijmeijer, said.  She was shocked by the extreme poverty and inequality that surrounded her in Colombia, and became interested in its politics and violent history. The FARC were fighting for social justice and agrarian reform, though many question their true ideological commitment today.

Nijmeijer later said the answers that satisfied her curiosity came from a fellow teacher who showed her some of the country’s poorest regions. The teacher taught her about communist movements around the world, and some claim she was deliberately radicalized.

‘Never imagined becoming a guerrilla’

By the time Nijmeijer returned to Holland a year later, she was consumed with the “fever of the revolution,” she told filmmaker and writer Jorge Enrique Botero, who spent time living in her jungle encampment in 2010.

At home in Holland, she threw herself into socialist activism, distributing radical newspapers and taking part in protests, but when she imagined her life trajectory there she felt despondent. “Soon I would buy a little house, have a husband and three children, while at the same time, the revolution would be taking place in Colombia,” she said.

So Nimeijer saved enough money to return to Colombia in 2002, and though purportedly “never imagined becoming a guerrilla,” quickly became involved in the FARC’s Antonio Nariño Urban Network in Bogota, helping to bomb police stations and public transportation.

Within a year she left the capital for a life of guerrilla warfare and extreme hardship in the Colombian jungle.

“She has a very unusual psyche,” says Leon Valencia, an analyst and former guerrilla who wrote a book about Nijmeijer. She has no limits, Mr. Valenica said, often feeling extreme rage, sadness, happiness – “But the one thing I have never seen in her is fear.”

 

According to Mr. Botero, the film director, she has “an incurable inclination toward danger and fear.” She struggled initially with the intense physical challenges, such as the days-long marches between encampments loaded with equipment, an induction for new recruits. But she stuck to a strict regime to develop a tough physique. About one-third of the FARC forces are thought to be female.

Nijmeijer's tenacity and bravery under attack impressed her superiors, says Botero, and she rose through the ranks, becoming assistant to a senior commander.

‘Her place in the world’

Emotional ties were harder to overcome, though. Life as a guerrilla meant abandoning her family for good, something “which caused her a lot of pain,” says Botero. “But like all FARC members, the guerrillas became her family – the structures and behavioral codes are very similar to family life, and they learn to forget.”

“At first I had true nostalgia, thinking about the fact I was never going to see my family again, but now it doesn’t affect me,” Nijmeijer can be seen telling Botero with a smile in his 2010 documentary. Dressed in combat gear with an AK-47 on her lap, she said, “I remember the good times.”

Her family traveled to Colombia several times to try to bring her home. Her mother broadcast messages on radio frequencies used by the FARC, and even flew across the jungle in an Army helicopter begging over a loudspeaker for her daughter to flee.

But after being granted a jungle meeting in 2005, Mrs. Nijmeijer left knowing her daughter would never leave the rebels, she told reporters. “Tanja came to feel this was her place in the world,” says Botero.

But she did have moments of doubt. Nijmeijer’s diaries were discovered at an abandoned FARC encampment in 2007, and quickly became front-page news. "One lives here more or less like a prisoner. This would be worth it, if I knew I was fighting for something, but I don't really believe in this anymore," she wrote.

Nijmeijer claimed her words were manipulated, telling Botero she was a committed and proud member of the FARC, and would stay that way until “victory or death.”

'Much hope' for peace

Now it seems there may be another way out.

Following speculation over whether she would be allowed to participate in the Colombian negotiations as a foreign national, Nijmeijer arrived in Cuba this week. 

In an interview with Agence France-Presse news agency, she said life as a guerrilla had been "very hard" but said she felt very happy and fulfilled to be "part of the people's army... [at] the center of the fight for social justice." 

“The Colombian people are a vanguard, an example of nonconformity, of fighting spirit, and that has always attracted me," Nijmeijer told AFP, adding that she had "much hope" for the upcoming peace process.

For many, simply by virtue of being a woman, Nijmeijer will be a very welcome addition to the talks – lack of female participation in previous talks has been cited as a contributing reason to their failure. This time around, the negotiating teams are again predominantly male.

For her family, Nijmeijer's presence goes beyond gender roles and representation: This is the first time they have seen their daughter in nearly three years, sparking renewed hope that one day, she may even return home.

__________________________

Dutch FARC guerrilla

Tanja Nijmeijer

arrives in Cuba

ahead of peace talks

>via: http://colombiareports.com/colombia-news/peace-talks/26848-dutch-farc-guerril...

The Shaping of Black London

A capsule history of Black Settlement in Britain's Capital

AD 50 Roman London Earliest Londoners come from all over Europe and Africa

Africans served in Roman army. "Negro head" carved wooden spoon found at Southwark bridge is earliest African connection in Southeast London.

16th century Black trumpeter at court 1507; and "John Blanke" served Henry VII at Greenwich and later Henry VIII.

Catherine of Aragon lands at Deptford in 1501 with her African attendants.

1555 "Certain black slaves" arrive from Africa with John Lok; and marks beginning of continuous Black presence in London.

Late 16th century, opening up of West African trade. Africans became part of London's population in seafaring centres like Deptford.

1593 First record of black person, "Cornelius", in parish register 1593. 1596-1601 Fear of increased black population in London and other towns leads to Royal proclamation by Queen Elizabeth I to arrest and expel all "Negroes and blackamores" from her kingdom.
Mid-17th to late 18th century

First era of large scale settlement of blacks in Britain.

Spans period of Britain's involvement in the tri-continental slave trade.

Black slaves were in attendance as sea captains sauntered through the streets.

In Tottenham, All Hallows Church baptismal register records "John Cyras, Captain Madden's black" in March 1718, and at St Mary's Church, Hornsey "John Moore, a black from Captain Boulton's" 8th October 1725 and "Captain Lissles black from Highgate" in 1733.

1700s

Significant presence of Black people brought as slave-servants of returning ex-colonial officials, traders, plantation owners, andmilitary personnel.

Growing evidence of Black presence in the northern, eastern and southern areas of London.

In addition, there were small number of free slaves and seamen from West Africa and South Asia.

Many reduced to beggary through lack of jobs and racial discrimination.

1750s London by now home to communities of Blacks, and of Jews, Irish, Germans, and Huguenots. 1760s

Black Londoners number 10,000-15,000 of the nation's 20,000 black people.

Evidence appears in registered burials.

The status of Black people in society becomes part of public debate.

Widespread view that blacks were less than human expressed in slave sales and advertisements.

1756

Mounting black response to slavery through covert means, resistance and flight.

Notable Black activists are: Oluadah Equiano; Ignatius Sancho; and Ottobah Cugoano.

Movements among Britons to demand black freedom from slavery.

Supporters include workers and urban poor who themselves suffered under the ruling classes of the day.

Mid-18th century

London Blacks vociferously contested slavery and the slave sales widespread in Britain.

The legal status of these practices were never clearly defined.

Slavery of whites was forbidden.

Free blacks could not be enslaved. But blacks who were brought as slaves to Britain were considered bound to their owners.

1772

Lord Mansfield court ruling that a slave who has deserted his master could not be taken by force to be sold abroad.

Verdict triggers black flight from their owners, the decline of slavery in England, and calls by Equiano and others for the abolition of the slave trade.

Clandestine Black quarters develop.

1775-83

In the wake of the American revolution hundreds of "Black loyalists" , the African-American slave-soldiers who fought on the side of the British, arrived in London.

Deprived of pensions many of them became indigent and begged in the streets of London.

1786

London's Blacks and Asians (Lascars) lived among whites in such areas as Mile End, Stepney, Paddington, and the St. Giles areas.

The majority were living, not as slaves and servants in wealthy homes, but as free men, householders or tenants.

Many became the Black Poor: ex-low-wage soldiers, seafarers, and plantation workers, but with few desirable skills in an evolving urban capitalist economy.

1789

Blacks and south-east Asian Lascars did not fit easily into the Poor Law welfare strategies of the period.

A special Committee for the Relief of the Black Poor laid plans for the Settlement of Blacks in Sierra Leone, West Africa.

1789 Publication of the memoirs of Equiano, the chief Black spokesman of Britain's Black community, The Interesting Narratives of the Life of Olaudah Equiano. 1792-1815 Further groups of black soldiers and seamen settle in London after services in the Napoleonic wars.

 

Late 18th century

The slave trade declines greatly in economic importance to Britain with the evolution of industrial capitalism.

Resurgence of intolerance buttressed by "scientific racism".

This effectively ends the first period of large-scale black immigration to London and Britain.

Decline in immigration and gradual absorption of blacks and their descendants into the white population occurs.

19th century 1807 The British slave trade is abolished 1834

Parliament abolishes slavery throughout the British Empire.

Steady decline in numbers and visibility of London's black population as fewer blacks were brought by West Indian planters and restrictions on immigrants from Africa.

1880s New build up of small black dockside communities in London's Canning Town, and in Liverpool and Cardiff, as new shipping links are established with the Caribbean and West Africa.
20th century

London-born Black people begin to make a mark in London life.

Continuous influx of African students, sportsmen, students, and businessmen.

Caribbean professionals gain positions as doctors,politicans and activists.

World War I

Black communities grow with arrival of black merchant seamen and soldiers.

They survive as the oldest black communities.

Continuous presence of small groups of students from Africa and the Caribbean.

World War II

Caribbean and West Africans arrive in small numbers as wartime workers, merchant seamen and servicemen in the army, navy and air forces.

Perhaps 20,000 blacks in Britain concentrated in dockside areas of London, Liverpool and Cardiff.

Learie Constantine, welfare officer in the RAF, refused service in a London Hotel and later wins damages.

Post-war period 1948

Britain's first group of post-war Caribbean immigrants come to London on the SS Empire Windrush.

Many of the 492 passengers settle in Brixton now a prominent black district.

1950s to 1960s

Mass migration of workers from all over the English-speaking Caribbean, particularly Jamaica.

They are "invited" to fill labour requirements in hospitals, transport and railways and contribute to rebuilding the post-war urban economy.

1962

Commonwealth Immigrants Act and a succession of laws in 1968, 1971, and 1981 severely restrict Black entry to Britain, and brings this period to an end.

Emergent Black and Asian struggle against race prejudice and intolerance.

1975 David Pitt brings a new popular voice to the House of Lords. 1987 Black population, workers, and community activists aid election of four Black Members of Parliament. 1991-97

Black Londoners numbered half a million people in the 1991 census, of which an increasing proportion were London- or British-born.

Despite modest socio-economic gains, discrimination remained a problem, even where skill deficiencies were being overcome.

Black Parliamentarians increase to six in 1992 and nine in 1997 elections.

"High-tech"and information revolution and a changing urban economy drive unemployment rates higher among Blacks and threatens to erode Black progress.

Capsule history by Thomas L. Blair (c)

Sources

Banton, Michael (1955), The Coloured Quarter. Jonathan Cape. London.

Collicott, Sylvia L. (1986), Connections. Haringey. Local-National-World Links. Haringey Community Information Service, London.

File, Nigel and Chris Power (1981), Black Settlers in Britain 1555-1958. Heinnemann Educational.

Gundara, Jagdish S. and Ian Duffield, eds. (1992), Essays on the History of Blacks in Britain. Avebury, Aldershot.

Merriman, Nick ed. (1993), The Peopling of London: Fifteen Thousand Years of Settlement from Overseas. Museum of London, London.

Scobie, Edward (1972) Black Brittania: A History of Blacks in Britain. Johnson Publishing. Chicago.

Shyllon, F.Q. (1977), Black People in Britain 1555-1833. Oxford University Press.

Shyllon, Folarin, "The Black Presence and Experience in Britain: An Analytical Overview," in Gundara and Duffield eds. (1992), Essays on the History of Blacks in Britain. Avebury, Aldershot.

Walvin, James (1971), The Black Presence: A Documentary History of the Negro in England, 1555-1860. Orbach and Chambers.

Walvin, James (1973), Black and White: The Negro and English Society 1555-1945. Penguin, London.

Comments, corrrections and additions will be gratefully received.

Open to Writers of Any Nationality:

The Carson Prize for Poetry or Prose

($100 top prize | international)

Deadline: 15 November 2012

Mixed Fruit Magazine is pleased to announce the Carson Prize in Poetry or Prose, a writing contest that will present one winning writer with a $100 award and publication in our first print issue, to be published in early 2013.

The Carson Prize is open to all writers in all genres. We’ll read work from established or emerging authors. We welcome submissions from writers of any nationality. As with our general submissions, we will judge entries on merit alone–all submissions should exclude names or any other identifying information.

This contest is free to enter–there is no reading fee whatsoever. We welcome entrants to submit up to five poems of any length or up to two prose pieces (8,000 words or less per piece). If you feel that your submission blurs the line between prose and poetry, select one of the categories and we assure you it will be passed on to the appropriate editors.

The author whose work is deemed most worthy of the Carson Prize will be awarded $100 and publication in the print issue, along with two contributor copies. Only one monetary award will be given, but three finalists will be published in the print issue and will receive one contributor copy, and all entries will be considered for publication in either the print issue or a future online issue. We do accept simultaneous submissions, but if your piece is accepted elsewhere, you must withdraw it immediately. This contest is only open to writing that has not been previously published.

To enter, visit our submissions manager and submit your piece under the Carson Prize category. We will not accept entries via email or post. This contest is fee-free, but we will have two options at the time of submission: you may enter with no fee at all, or you may choose to include a donation with your entry. Donations will in no way influence the judges’ decisions. Please ensure that your entry does not include your name or other identifying information at any point, even in the file name. We’ll know who you are when the time comes–we promise.

CONTACT INFORMATION:

For queries: mixedfruitmag@gmail.com

For submissions: via submittable

Website: http://mixedfruitmagazine.com/