Terms and Conditions

The following provisions govern the 2012 William Saroyan International Prize for Writing awarded by Stanford University Libraries.

1. The Saroyan Prize Committee will be appointed by the Stanford University Librarian in consultation with the President of the Saroyan Foundation, and will be responsible for all aspects of the administration of the Saroyan Prize.

    

2. The Stanford University Librarian in consultation with the President of the Saroyan Foundation, will appoint a team of no fewer than three Nominating Jurors for each Saroyan Prize to be awarded.

    

3. Two prizes of $5,000 will be awarded, one each in fiction and non-fiction. Poetry and other literary forms will not be considered.

    

4. Only works published in book form between January 1, 2010 and December 31, 2011, available for individual purchase by the general public, and primarily in English are eligible for the Saroyan Prize in 2012.

    

5. Works by members of The Saroyan Prize Committee, members or officers of the William Saroyan Foundation, or previous winners are not eligible for the 2012 Saroyan Prize.

    

6. Only complete entries received by Stanford University Libraries no later than
   January 31, 2012 will be considered. A complete entry includes:
   

   a.  A completed entry form. Complete form here.
   b.  Five copies of the work.
   c.  A non-refundable $50 entry fee. Payment may be made using Visa,
   MasterCard, or American Express at the above website, or by check. Checks should be made payable to Stanford University/Saroyan Writing Prize, and should indicate the title(s) of the work(s) they accompany.

   Completed entries should be sent to:

   Administrator of The Saroyan Prize Committee
   Stanford University Libraries
   557 Escondido Mall
   Stanford, CA 94305-6004

7. The Saroyan Prize Committee will assemble and manage a team of Stanford University alumni and Stanford University Library staff to perform an initial screening of all entries.

    

8. The Nominating Judges for each Saroyan Prize will review the screened entries, and put forward to the Stanford University Librarian a list of not less than three and not more than five Finalist works for each Prize.

    

9. The winner of each Prize will be selected by the Stanford University Librarian, in consultation with the President of the William Saroyan Foundation, and based on the recommendations of the Nominating Judges. However, the University Librarian has the authority in extraordinary circumstances to award the Prize to any qualified entry.

    

10. Nothing in this plan shall be deemed to limit in any way the authority and control of The Saroyan Writing Prize Committee.

     

11. Finalists and prizewinners of the Prize will be listed permanently at this website.

     

12. Terms and conditions subject to change without notice.

The Creative Writing Department at Austin Community College is committed to recognizing outstanding works of literary merit through its Balcones Literary Prizes.

 

The Balcones Center for Creative Writing at Austin Community College is pleased to announce the Balcones Fiction Prize in recognition of an outstanding book of literary fiction.

Click Here for up to date information regardling deadlines and prize amounts.

Click Here to download the The nomination form.

Prize Information Eligibility:

• Books of prose may be submitted by author or publisher; send three copies; books must bear a publication date between January and December of the year the prize is being offered.

Reading fee: $30; checks payable to Austin Community College

Address: Irwing Tang, Balcones Fiction Prize Director, Austin Community College, 1212 Rio Grande Street, Austin, Texas 78701

Phone: (512) 832.9039

Email: itang@austincc.edu

 

The Balcones Center for Creative Writing at Austin Community College is pleased to announce the Balcones Fiction Prize in recognition of an outstanding book of literary fiction.

Click Here for up to date information regardling deadlines and prize amounts.

Click Here to download the The nomination form.

Prize Information Eligibility:

• Books of poetry of 42 pages may be submitted by author or publisher; send three copies; books must bear a publication date between January and December of the year the prize is being offered.

Reading fee: $25; checks payable to Austin Community College

Address: John Herndon, Associate Director, Austin Community College, 1212 Rio Grande Street, Austin, Texas 78701

Phone: (512) 828.9368

Email: jherndon@austincc.edu

 

 

Dec 26, 2011

 

Nine-months pregnant and 17-years-old, Rose Mina Joseph walks outside of her home. She says the father is a Uruguayan soldier who has since left Haiti.

Rose Mina deserves better

(updated)

 

It’s a cold Christmas night in Seattle and I’m up at 3 in the morning.  I miss the warmth of Haiti.

Readers, I have a request.  Does anyone remember Rose Mina Joseph?

I wrote about her back in September after breaking the news of abuses by UN soldiers caught on cell phone video in Port Salut, Haiti.  Beyond the incident captured by the video, it turned out that soldiers from the local Uruguayan UN peacekeeper battalion had had children with a number of local Haitian women.  UN regulations strongly advise against this, given the “unequal power” levels inherent in any such relationship.  Some of the women (photos) and their children had been all but abandoned by soldiers who had finished their deployments to Haiti.  But the soldiers are absolutely forbidden from having sex with minors, much less impregnating them.  The country’s legal age for sexual consent is 18.

Rose Mina became pregnant five days after turning 17 last January.  The father was Uruguayan peacekeeper Julio Posse, seen in the photo below of her birthday celebration.  Posse was sent back to Uruguay last summer for what the UN later admitted was a “very serious breach of the Code of Conduct.”  After I wrote about Rose Mina, the UN mission said:

As a disciplinary measure, the soldier was repatriated and banned from serving in other UN missions. He is required by his hierarchy in Uruguay to assist the young girl and her to be born baby. We are following up on whether he was sanctioned, what was the sanction, and whether he has executed it, as well as on the continuation of assistance to the girl and the baby.

According to Rose Mina, her son’s father sent a small amount of money once since her story was covered in the press.  A flurry of journalists visited her in those days at the tiny ramshackle home she shares with her mother and uncle.  They cook under a thatched roof covering behind the house.

Apparently I’m the only one who gave her a phone number before leaving.  We’ve kept in touch since then.  Normally Rose Mina is reserved and soft-spoken. She doesn’t say a whole lot.  But on Friday she called me and was upset that I hadn’t called her sooner.  I called her back.

She immediately launched into a long, flowing tirade against “Julio.” He told her he would send money again, but has not.  Recently she called him and he claimed he couldn’t talk because he’d been in an accident.  He picked up again when she called another day, sounding perfectly normal, then abruptly hung up on her.

Rose Mina is infuriated that he hasn’t followed through on his promises and has lied to her.  She’s decided to name her son Anderson Joseph, instead of naming the boy after his father, as she had planned per Haitian tradition. For good measure, she called all the other journalists who interviewed her “thieves.”

Here are the text messages she sent me after we talked.  She’s always had a funny way of writing.  A translation:

“Hi, how are you?  Where are you?  I’m not doing well at all because the father doesn’t ever call me, he doesn’t send money for me and the child.  Merry Christmas. . .Ansel hello, it’s Rose Mina.  The foreigners in MINUSTAH never sent any small amount of money for the baby.  Try to call them for me so they can send it for me.  Merry Christmas.”

What happened that to the “continuation of assistance to the girl and the baby” pledged by the UN in the statement above?  Hasn’t one of the UN’s many humanitarian agencies partnered with its peacekeeping mission to provide Rose Mina a minimal level of support?

No.  When I first wrote the story, I pleaded with the woman who sent me that statement, the UN mission’s public information officer, to follow through on the helping Rose Mina and her child.   The baby hadn’t been born yet.  Rose Mina worried about not having enough money to pay the only hospital in the town.

A few weeks later, not long before she gave birth, I called the the PIO back.  Once again, she brushed me off, assuring me someone was following up.   Rose Mina said nothing happened.  So from Port-au-Prince, I wired Rose Mina some money myself.

Here finally is the request.  I’d like to wire Rose Mina some money again.  But I’m barely keeping up with my work in Seattle.  Just last week, I wired a friend in Cite Soleil $70 USD, in part because his mom died and the morgue was about to throw her body out (here’s a photo of the transfer).   For Rose Mina, I’d like to encourage you to make a donation to this PayPal link.   If y’all hit $50, I’ll throw in $50 myself and we’ll send her an even $100.  Maybe we can do even more than that. If anyone needs more documentation to feel comfortable about donating, let me know.  The dollars that you donate to my PayPal account will simply reimburse me for $50 of the wire transfer, which I’ll send using my credit card and Western Union at a local Vietnamese market. I’ll update this post with a photo of the the transfer receipt and again when I get word that Rose Mina has received it.

That’s pretty much it.  I don’t like asking for money, nobody does.  But I’m just a little too upset and not quite rich enough to not try this. Especially with all the buying stuff and gift giving going on around these parts.  Rose Mina deserves better.

As does another close friend, who was promised assistance from two large, well-known international aid organizations. They removed her (and by extension her five children) from a beneficiary list without informing her or apologizing. But that, like so much of what goes in Haiti, is another story – yet it’s really the same at its core. Haitians and their nation are treated as less than sovereign with rights.

Update: Wow!  This worked quickly. In the seven hours since I posted this, two readers have donated $75 between them.  I was expecting more of a series of smaller donations.  I’ll chip in $25, save my other $25 for someone else or a future remittance to Rose Mina, and send out the wire transfer as soon as I can (photo forthcoming). Thank you Nathan Yaffe and Kathleen O’Flynn. (If you’d still like to make a donation to Rose Mina, just label it “for Rose Mina” in the purpose line in PayPal checkout.)

*Rose Mina gave me permission to share all this with you. Additionally, you or I could both try contacting the UN mission’s PIO Sylvie van den Wildenberg at 011 509 3702 9042 or vandenwildenberg@un.org, but that’s likely to go nowhere. And please let me know if you have an idea for how to help Rose Mina in a non-financial way, such as linking her with effective legal counsel or a women’s group with a presence in Port Salut. Finally, I want to note that while I try to act in such a way that doesn’t lead someone consider me as an exploitative person or a thief, I have never given nor offered a source or interviewee money before publishing an article. On occasion, it’s something I’ve volunteered well after whatever journalistic work I’ve done involving them has been completed.

========

My name is Ansel Herz. I’m a 23-year-old freelance multimedia journalist now based in Seattle, after spending the past two years in Haiti.

I lived and reported through the 7.0 earthquake that struck Haiti on January 12. My work has been published by The Nation magazine, ABC News, Al Jazeera English, Reuters Alertnet, The New York Daily News, Inter-Press Service, Free Speech Radio News (FSRN), among others.

Number of homeless children

highest in American history

     

By Josh Sternberg
Current.com contributor 

The number of homeless children in the United States is at its highest levels in the nation's history, according to a study released last week from the National Center on Family Homelessness. 1 out of every 45 children is homeless. That's a staggering number; a majority of them are under 7.

 

The Christian Science Monitor quotes the study about what the children have lost and the consequences of losing these possessions:

Despite their growing numbers, homeless children are invisible to most of us; they have no voice and no constituency,” the report says. “Without a bed to call their own, these children have lost safety, privacy, and the comforts of home, as well as their friends, possessions, pets, reassuring routines and communities.”

Children experiencing homelessness also tend to struggle with hunger, poor health, and missed educational opportunities. A majority of homeless children have limited proficiency in math and reading, according to the report.

USA Today also covered this story, including data on the states with the lowest and highest numbers of homeless children:

The study, a state-by-state report card, looks at four years' worth of Education Department data. It assesses how homeless children fare based on factors including the state's wages, poverty and foreclosure rates, cost of housing and its programs for homeless families.

The states where homeless children fare the best are Vermont, Minnesota, Nebraska, North Dakota and Maine.

It finds the worst states for homeless children are Southern states where poverty is high, including Alabama, Mississippi and Arkansas, and states decimated by foreclosures and job losses, such as Arizona, California and Nevada.

Since this is a new study, it’s getting attention now, but this is a tragic trend that has been on the rise throughout 2011 – and should be discussed every day. One in 45 kids has no roof over his or her head tonight. Remember that number.

In July, the Boston Globe had this story about how Boston Medical Center is seeing more and more malnourished, “dangerously thin” children in the emergency room.

Doctors at a major Boston hospital report they are seeing more hungry and dangerously thin young children in the emergency room than at any time in more than a decade of surveying families.

Food is costing more, and dollars don’t stretch as far,’’ [Dr. Megan Sandel, an associate professor of pediatrics and public health at BMC ] said. “It’s hard to maintain a diet that is healthy.’’

The emergency room survey found a similarly striking increase in the percentage of families with children who reported they did not have enough food each month, from 18 percent in 2007 to 28 percent in 2010.

In August, New York Times columnist Charles Blow wrote, “One of the greatest casualties of the great recession may well be a decade of lost children.” 

---

Josh Sternberg is a freelance writer, former adjunct professor and recovering communications professional based in Brooklyn. He blogs at The Sternberg Effect. Follow him on Twitter and Tumblr.

(Photo: Getty Images)

Where Geeks

Are Rock Stars:

Documentary Spotlights

an Urban School's

Champion Chess Team

• Liz Dwyer
  Education Editor

Where's the best junior high school chess team in the nation? It's not at a private school or in some wealthy suburb. Instead, it’s at Brooklyn's Intermediate School 318, where the majority of students are low-income children of color. A new documentary called Brooklyn Castle follows members of the school's chess team for one year to show how the program has transformed the students and the entire school.

At I.S. 318, chess champions—not varsity athletes—are celebrities among their peers. The trailer above gives us a sneak peek at the incredible stories of the students on the team. Thirteen-year-old Rochelle, for example, is aiming to become the first black female chess master in the history of the game.

The film is a project of Rescued Media, a Brooklyn-based production company started by husband-wife filmmaking duo Katie and Nelson Dellamaggiore. The couple says that by featuring the five extraordinary teenagers, Brooklyn Castle serves as a "counterpoint to the tired notion that public schools—and public school students—can only fail." When budget cuts threatened to eliminate many of the I.S. 318’s most successful programs, including the chess program, the filmmakers decided to use the school's experience to represent that of countless schools where afterschool programs are on the chopping block despite boosting academic achievement and engagement.

In an effort to build national recognition of the I.S. 318 team and the challenges facing public schools, the Dellamaggiores are running a Kickstarter campaign to raise $20,000 to hold screenings of Brooklyn Castle across the country. They're also organizing tournaments at which the I.S. 318 students will go head-to-head against chess players at Harvard, Columbia, and the Google campus "so the kids realize those places are within their reach, and word gets out that public schools across the country are suffering from the crushing effects of budget cuts."

Reclining Nude

12.22.2011

by dream hampton

The standout star of New York’s Museum of Modern Art’s 2011 “New Photography Series” was Deana Lawson.  An upstate New York native who’s been nesting in Brooklyn with her painter husband since they both graduated from the prestigious Rhode Island School of Design, Lawson is re-imagining the portrait in wildly subversive ways. Nudity and power are central to much of her work, which is often staged in domestic spaces – living rooms and parlors, or bedrooms flooded with artificial light. She manages to turn a family portrait into a visual essay on love and power with a shockingly casual, carefully posed, nude mother. Curator and critic Franklin Sirmans, who was an early advocate of Lawson’s work, has likened her to Black women photographers like Carrie Mae Weems, Lorna Simpson and also to Nan Golden and Diane Arbus. Sirmans has written that Lawson’s work is “packed with intention.” Indeed, Lawson spends her time alternately daydreaming about the images she’d like to produce and considering their theoretical implications. Here we discuss gaze, talking women from the A train into posing nude, and success.

Life+Times: Your work has been compared to Diane Arbus and Nan Goldin, but so much of what you do to deconstruct boundaries reminds me too of Jacob Holdt, except you’re hardly passive. You seem to direct your models poses, down to the inch, sometimes placing them in fairly unnatural, uncomfortable spaces. How much of your portraits are staged in your head before the shoot?
Deana Lawson: I often photograph in the subjects’ home, or what a good friend of mine has emphasized as a dwelling. The “home” or the apartment becomes a heightened space where the subject and myself engage in making the picture in relative privacy. In that sense the space feels to us completely natural and comfortable for the occasion of making a nude portrait. I think the “unnaturalness” or “uncomfortableness” that you mentioned might have to do more with looking at these sorts of pictures which feel very private, in a public space. Diane Arbus, Nan Goldin, Jacob Holdt and myself share an affinity for the photograph as document and testimony. Yet formally my work is far more staged and I tend to work in a more painterly way, carefully considering lighting, poses, and environment. I daydream a lot – more than I like to admit – and when an image comes to me, I try to make the picture as close as possible to the dream. But other times, I revert to documentary mode, as in the picture Flex (below), I could have never imagined a picture that profound. So I have a hybrid method of working where many images might be preconceived, but others influenced completely by meeting powerful subjects.

L+T: Your nudes, no matter how seemingly random, never seem overly vulnerable, or even performative. Clearly you’re thinking about women stripped of clothing in these domestic spaces. Can you share some of that thinking?
DL: I’m thinking of all kinds of nudes: keepsake nudes, King Magazine semi-nudes, vintage flea market nudes, clinical nudes, stuffed-in-a-drawer nudes, pornographic nudes, ethnographic nudes, …simultaneously, I’m also thinking of portraits, family album and studio portraits. I was fascinated by portraits before I was interested in nudes. Thus I always imagined I was making portrait even though I was beginning with the constructs of a nude.

 

L+T: So much of feminist theory as it relates to images centers around the gaze. I’m certain you’ve studied Laura Mulvey and the like, but when you’re posing your models, are you considering issues of power and hierarchy?
DL: To meditate on the “gaze,” there are three at play: the subject’s gaze, my own gaze as photographer, and then the gaze of the audience. All are essential for the picture to become most charged. Each gaze has its own legacy of power or powerlessness. And thus a dynamic energy is exchanged between gazes, between self and other. I can’t think of a better example of my power politics illustrated so clearly than in the image Baby Sleep (pictured, top). In this photograph, there are three people in the room, and only one person gives you a clear and direct gaze, and that is the wife/mother/succubus figure. She plays several roles at once, and very gracefully. Her role and position of power as wife, lover, and mother, is honored in this photograph, and she is very much aware of being looked at, by me, and by you.

 

L+T: You’ve talked about wanting to center your work around ordinary women, women you meet in the street or at church? How exactly does one talk an average woman into a state of undress? Do you mostly get your way?
DL: I am drawn to seemingly ordinary women, and what I mean is I’m not interested in the super-star en vogue sort of beauty. We see enough of that. I’m attracted to the everyday person who I might run into getting off the A train, or whom I might pass in Foodtown. This is the person, the woman, who I want to use as my muse. And the subject is not average, in fact, I believe the subject is extraordinary. I do not always get my way, 87% of my process involves failure and frustration. All I can do is present my idea to the subject and hope they are creative and open enough to just maybe… say…yes.

L+T: Your husband, Aaron Gilbert, is a really talented painter. You met while you were both studying at RISD. Do you discuss and/or collaborate on work at home?
DL: We met before RISD. We met in Happy Valley, the town of Penn State University. When we first met, Aaron had a room in a big house that he shared with four other young guys. After class I would race to his house and run upstairs to his room, which was our experimental space. And we would just make stuff, we made sculptures, I would pose for his early paintings, I would make Polaroids and so forth. That time was an incubator period for our careers and our relationship. When I was around Aaron, I felt I was in the presence of a true artist. His focus was razor sharp, this man could paint to 3 a.m., and I had never experienced that sort of discipline before. In our recent work, Aaron makes pre-sketches for many of my portraits and I am often the main character in his paintings. So our relationship always involved an element of collaboration.

 

L+T: Your recent exhibit at MoMA was incredibly well received. It has to be satisfying. What’s your relationship to success? Do you allow yourself to enjoy big and well-reviewed shows? Or do you push yourself towards the next project?
DL: When I first found out MoMA chose my work, of all the photographers working out there right now I felt like it was a huge success, not only for me, but for the subjects in my work. It was also a little scary, because an institution of that magnitude opens up your audience to hundreds of thousands of people and gazes. With that said, I get antsy and irritable when I’m not creating new work, so I’m always pushing towards the next project…

 

 

JESSE RUSSELL

- INVENTOR OF

DIGITAL CELLUAR

NETWORKS

GO HERE TO VIEW VIDEO

Jesse Russell is one of the inventors and pioneers in the development of digital celluar telephone networks. Digital celluar network technology is the enabling technology that is allowing wireless networks the bandwidth or capacity to offer large scale use of mobile phones, and new features such as text messaging, video and various digital applications. Jesse is a graduate of Tennessee State University, an historically Black College and University (HBCU). He has over 14 telecommunication inventions that have been patented and is truly a modern and active role model for youth interested in becoming an engineer. His story is motivating and let's you know that you too can become an inventor and achieve high levels of success in engineering.

Okayafrica’s

Top 11 Music Videos of 2011

December 26, 2011

Posted by: killakam

It’s been a great freshman year for us at Okayafrica. To culminate it, we’re highlighting our choice content from the past 12 months. Browse our top 11 music videos of 2011 below and stay tuned for top 11 LPs, songs, and side-eyes lists!

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Art Melody “L’ébène Est Dans Le Noir”

Montage by Guib.

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Nneka “My Home”

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Just A Band “Kichwateli”

Directed by Bobb Muchiri for BLNRB.

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Tinariwen & TV On The Radio “Tenere Taqqim Tossam”

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Spoek Mathambo “Control”

Directed by Pieter Hugo & Michael Cleary.

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Blitz The Ambassador “Native Sun”

Directed by Blitz the Ambassador & Terence Nance.

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Lexxus Legal ft. Leslyman “Fauchés”

Directed by Ronnie Kabuika

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Buraka Som Sistema “Hangover (BaBaBa)”

Directed by João Pedro Moreira & Carlos Afonso.

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Mo Kolours “Biddies”

Directed by Stefan Asanovic.
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Die Antwoord “Fok Julle Naaiers”

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Ruffest “Siyabenzela”

Directed by Jasyn Howes.

 

Tracka de Day:

Soul Keita ‘Dusties n 808s’

December 23, 2011

Posted by: Zach Isaac

The Addis Ababa-based kissar player Soul Keita was 17 when Democracy EP dropped in 2009. His tracks, along with others found on the Clown and Sunset label, are largely influenced by Ethio-Jazz father, Mulatu Astatke. If you’re a fan of Astatke’s beautifully haunting key rifts, it’s truly amazing to hear where Soul Keita and new friend Nicholas Jaar takes the vibe. Check out “Dusties n 808s” from 2010′s Ines LP below.

CS004 ∆ Soul Keita – Dusties N 808s by Clown & Sunset

Doire Press

is pleased to announce its 2012

1st annual poetry & chapbook competition

Winners will each receive 75 copies of their own professionally edited and printed chapbook (one for poetry, one for fiction), published by Doire Press. Chapbooks will be perfect-bound, contain up to 40 pages, feature colour front and back covers, as well as their own isbn and barcode.

Fiction entries: one short story per entry (4,000 words max)

Poetry entries: 4-6 poems per entry (10 pages max)

Deadline: January 9, 2012

Entry fees: €10 for first entry, €8 for each additional entry (you may submit multiple entries in either fiction or poetry, or submit to both fiction and poetry).

Judges:

Fiction: Alan McMonagle is an award-winning writer living in Galway. Shortly after receiving his MA in Writing from NUI, Galway in 2007, he published his debut collection of short stories, Liar, Liar (Wordsonthestreet, 2008). He has won several awards for his work, including second prize in the Séan O'Faoláin short story contest, joint-first prize in the Jonathan Swift Awards and a short-listing for the inaugural William Trevor-Elizabeth Bowen writing award. He was also one of four Irish authors placed on the long-list for the 2009 Frank O'Connor Award for his short story. His stories have appeared in many journals in Ireland and North America including The Adirondack Review, Grain, Prairie Fire and The Stinging Fly.

Poetry: James Martyn is from Galway and his work has appeared in The Sunday Tribune, The Stinging Fly and The Shop. He has had work broadcast on both RTÉ and BBC and has won the Listowel Writers’ Week Original Short Story Competition. He was short-listed for a Hennessy Award in 2006, for the Francis McManus award in 2007 and 2008, and for The William Trevor International Short Story Competition in 2007 and 2011. He won second place in the 2011 Dromineer Poetry competition. His first collection of poetry, Shedding Skin, was published by Arlen House in 2010.

The judging for the contest is completely anonymous. Entries must include cover page with full contact information and title of story or first poem. Entrant’s name must not appear anywhere on the manuscript.

Entrants must not have any books published in the genre to which they’re applying (not including self-publication or chapbooks); however, they can enter the other category. For example, if you have published a poetry book, you are not allowed to enter the poetry competition but can enter the fiction.

Entries must not have won any other competition but can have been published in literary journals or magazines.

Use standard formatting (one poem per page for poetry/double-spaced for fiction, 12-font for both).

Send entries via postal mail to:

Doire Press

Aille, Inverin,

County Galway

Ireland

Make cheques or money orders payable to Doire Press. Entry fees can also be paid via Paypal (see bottom of page).

Email submissions will also be accepted with an additional €1 per entry printing fee.

To submit via email: Put complete contact information in body of email. Attach manuscripts as a Word (.doc file only, no X) or PDF file. Use size A4 page. For poetry submissions, put all poems in one document. Send email to doirepress@gmail.com. Put the words ‘Competition entry’ in the subject line of email.

To pay by Paypal:

1. Log onto Paypal website at www.paypal.com.

2. Send money to email address: doirepress@gmail.com.

3. Send the correct amount (€10 for first entry; €8 per additional entry; €1 for printing charges per entry if sending entries via email).

4. In Message box enter your name and title of story or first poem.

5. Note transaction number

6. Include Paypal transaction number on contact page, if submitting via post, or in body of email, if submitting via email.

The long list of twenty-five in each category will be announced on the Doire Press website on January 30th. The short list of ten in each will be announced on February 13th and the winners will be announced on February 20th. 2nd and third place winners in each category will receive a certificate.

The judges’ decisions are final.

Winners of competition agree to submit final manuscripts to editors within three weeks of winning competition. Winners agree to work cooperatively with editors to produce a mutually-agreed upon chapbook. Chapbooks will be a maximum of forty pages, which includes opening pages, such as title page, contents, etc. Winners may submit artwork to be considered for cover, but cover is designed by publisher. Winners receive all copies of chapbook to be sold, given away, etc. At the winners’ request, competition judges will contribute forward or back cover blurb. If winner lives outside Galway area, winner agrees to pay shipping charges of chapbooks.

For any questions, click here to email.

 

Doire Press kindly thanks its competition sponsors, Senator Fidelma Healy Eames, Mayor Sally-Ann Flanagan and Clodoiri Lurgan Teo (clprint.ie).