PUB: The University of Arkansas Press

 

The Miller Williams Arkansas Poetry Prize
Enid Shomer, Series Editor
The University of Arkansas Press publishes four books of poetry annually.


Announcing!
The University of Arkansas Press Poetry Series' annual $5000 Miller Williams Arkansas Poetry Prize
For submissions in September and October of 2010
One winner and up to three finalists will be published in 2012

 

In addition to publication, the winner will receive the $5,000 Miller Williams Arkansas Poetry Prize.


The poetry prize is named in honor of Miller Williams, one of America’s finest poets and cofounder and first director of the University of Arkansas Press. Williams was also a codirector of the University of Arkansas’s nationally recognized creative writing program. As the director of the UA Press, Williams published the work of many outstanding poets and writers, including that of Billy Collins, Ellen Gilchrist, Robert Mezey, R. S. Thomas, Frank Stanford, and John Ciardi. He is known to many as the poet who read a poem at Bill Clinton’s 1997 presidential inauguration.

View the 2011 Press Release.

View the 2010 Press Release.

 


The University of Arkansas Press invites submissions of manuscripts each fall for its poetry series, now in its twenty-eighth year. We are committed to publishing diverse kinds of poetry by a diversity of poets. The only criterion is excellence.

SUBMISSION REQUIREMENTS (PLEASE READ CAREFULLY):


1. The series is open to all book-length manuscripts by a single author of 60 to 90 pages, except translations. Individual poems may have been published in chapbooks, journals, and anthologies.


2. The editor requests that her friends and current or former students refrain from submitting to the series.


3. We request that anyone whose manuscript has been previously selected for publication in our poetry series wait three years from publication before submitting another manuscript for consideration in the series. For example: if your book was published in 2008 you may not resubmit until Sept. 1, 2011.

4. No more than one manuscript per author, please.


5. Submissions will be accepted annually during the months of September and October. The postmark deadline for entries is October 31. Please do not send revisions once you have sent a manuscript. Up to four manuscripts will be chosen by the following July 1, one of which will win the $5,000 prize.


6. Manuscripts should be typed or machine-printed, single-spaced, with no more than one poem per page. Please do not include an acknowledgments page. No electronic submissions will be considered.


7. There is a reading fee of $25 payable by check or money order to the University of Arkansas Press. Please do not send cash.


8. Simultaneously submitted manuscripts are allowed provided we are notified immediately of acceptance elsewhere.


9. All entries will be judged anonymously. Please enclose two title pages with your submission: one page should include only the title of the manuscript and the other should list the title of the manuscript and the poet’s name, address, telephone number, e-mail address, and a brief, biographical statement. The poet’s name must not appear anywhere else in the manuscript.


10. If you wish to be notified that your manuscript was received, please include an SAS postcard.


11. If you submit a #10 SASE along with your manuscript, you will be notified of our decisions by July 1. Otherwise, check our Web site in mid-July (www.uapress.com), where the winners will be announced.


12. Manuscripts will be recycled rather than returned.


13. Send your manuscript and reading fee to:


The Miller Williams Arkansas Poetry Prize
University of Arkansas Press
105 N. McIlroy Ave.
Fayetteville, AR 72701


Please contact Katy Henriksen at khenrik@uark.edu if you have any questions about the submission requirements.

 

general submission guidelines

 

The University of Arkansas Press • McIlroy House • 105 N. McIlroy Avenue • Fayetteville, Arkansas 72701
800-626-0090 • 479-575-3246 • FAX 479-575-6044

 

The University of Arkansas

 

 

PUB: Poetry Contest - Two Review

2010 Two Review Poetry Contest
Judge: Nathalie Handal

Picture

 

Nathalie Handal is an award-winning poet, playwright, and writer. She has lived in Europe, the United States, the Caribbean, Latin America and the Arab world. Her poetry collections include The NeverField, The Lives of Rain, short-listed for The Agnes Lynch Starrett Poetry Prize/The Pitt Poetry Series and the recipient of the Menada Award, and most recently, Love and Strange Horses (University of Pittsburgh Press, 2010).

Handal edited The Poetry of Arab Women: A Contemporary Anthology, an Academy of American Poets bestseller and Winner of the Pen Oakland Josephine Miles Literary Award, and co-edited along with Tina Chang and Ravi Shankar the landmark anthology, Language for a New Century: Contemporary Poetry from the Middle East, Asia & Beyond (W.W. Norton). Handal lives in New York City.

Learn more at www.nathaliehandal.com.


Prizes
$100, $50, $25 plus publication. All submissions considered for publication in Two Review 2011.

Guidelines
Pay $10.00 contest fee below, then submit up to five (5) unpublished poems with a brief bio to tworeview@gmail.com.

Deadline
September 30, 2010.

Two Review 2010 Poetry Contest Fee
Please pay your contest fee securely and reference your transaction number in your submission.

 

 


See below for a printable PDF of the 2010 Two Review Poetry Contest Announcement.
2010_two_review_poetry_contest_announcement.pdf
File Size: 252 kb
File Type: pdf
Download File

 

PUB: Third Coast: Contests

The 2011 Third Coast

Fiction & Poetry Contests

Postmark Deadline: December 1, 2010

Fiction Prize: $1,000 & Publication 

Poetry Prize : $1,000 & Publication

 

Final Judges

Fiction: Brad Watson         Poetry: Natasha Trethewey

 

 

 Complete Guidelines

1. Submit one previously unpublished story of up to 9,000 words or three (3) previously unpublished poems with a $15 reading fee payable to Third Coast.  Please send each entry separately and clearly mark whether it is a poetry or fiction entry. 

Send entries and reading fee to:

Third Coast 2011 Fiction or Poetry Contest

Department of English

Western Michigan University

1903 W. Michigan Ave.

Kalamazoo, MI 49008-5331

2. Each $15 entry fee entitles entrant to a 1-year subscription to Third Coast, an extension of an existing subscription, or a gift subscription. Please indicate your choice and enclose a complete address for subscription.

3. All manuscripts should be typed (fiction entries should be double-spaced), and accompanied by a cover letter with the author's name, contact information (address, telephone, and email address), and entry title(s). Please include entry title(s) and page numbers on all manuscript pages.  The author’s name and  identifying information should only appear on the cover letter; identifying information must not appear anywhere on the manuscript itself.

4. Simultaneous submissions are permitted; if accepted elsewhere, we ask that work be withdrawn from the contest immediately. If a poem or story is chosen as a finalist, Third Coast requires that it be withdrawn from any other publication considerations until the winner is selected. If the poem or story is scheduled to be published elsewhere before September 2011, please do not submit it.

5. Winners will be announced in February 2011 and published in the Fall 2011 issue of Third Coast.  All contest entries will be considered for regular inclusion in Third Coast.

6. Writers associated with the judges or Third Coast are not eligible to submit work to the contest.

7. No money will be refunded. Submissions will not be returned. Send SASE for results only.

 

About the Judges

Brad Watson won the Sue Kauffman Award for First Fiction from the American Academy of Arts & Letters for his first collection, Last Days of the Dog-Men. His first novel, The Heaven of Mercury, was a finalist for the 2002 National Book Award. Watson’s most recent collection of stories is Aliens in the Prime of Their Lives (2010).

Natasha Trethewey is the winner of the 2007 Pulitzer Prize in Poetry for her book Native Guard. Her first poetry collection, Domestic Work, won the Cave Canem Poetry Prize, and her second collection, Bellocq’s Ophelia, was named a Notable Book for 2003. Trethewey’s most recent work is a book of creative non-fiction, titled Beyond Katrina: A Meditation on the Mississippi Gulf (2010).

 

***

 

 

INFO: Breath of Life—P-Funk live, 10 contemporary French soul artists, 11 versions of Horace Silver's "Senor Blues"

So this week’s Mixtape is an hour-and-a-half attempt to replicate the sublime creative chaos of P-Funk at its zenith, which was a collective of probably twenty-some musicians, singers, dancers cavorting on the stage. Throw away your damn watch. P-Funk was known to go until morning light, literally. A P-Funk performance was a potent mix of heavy funk, Hendrix inspired rock, and gospel inflected vocals (including a chorus) garnished by a running cosmic rap from Dr. Funkenstein.

This musical mélange was created live, in real time, right before you very eyes, straight on into your earhole. A P-Funk concert was damn near a religious experience.

________________________________________

 

Make my funk the P-Funk! Kicking it all the way live. Then we jump the pond to dig a collection of contemporary French soul artists (Shad Murray, the Akoma Aya duo, Freddy, Leslie Philips, Rycko, Monsieur Nov, Jango Jack, Natho, Quinze and Rony). We conclude with 11 versions of "Senor Blues" featuring the composer Horace Silver, Chris Connor, Ray Charles, Ernie Banks, Brass Jaw, Taj Mahal, Battista Lena, Mark Murphy, Carlos Patato Valdez, Tyrone Smith, and Beatconductor.


http://www.kalamu.com/bol/

PHOTO ESSAY: fuck yeah, women of the rainbow.

FUCK YEAH, WOMEN OF THE RAINBOW.
reconstructing idealized norms of beauty.
celebrating diversity in all forms.
art, photography, and anything else.

 

tell me what’s your definition of a woman?  reconstructing idealized norms of beauty. celebrating diversity in all forms. art, photography, and anything else. let’s see what other forms of beauty are out there, if you know what i mean ;) a lot of photography features WASP type women, who while, gorgeous, are not a representative of the many shades and shapes of women out there. different colour.

note: many european women can be considered ethnic. however, when i use the term coloured it is in fact a play on the term itself. it is a recognition of the fact that historically, any drop of non-caucasian “blood” mixed in with caucasian blood effectively ruined the purity of said blood (see one drop rule, see mixed race theory) and that overall, those that are not white were defined by this term. being coloured is being defined what one is not, specifically white, or other.here, i choose to re-appropriate the word and embrace it, to recognize that i will not be focusing on white women (sorry, ladies) but on those that are normally marginalized.

(like, hell yeah, we’re “coloured” and we like it, thank you. no, we do not mind at all. if you choose to pretend your skin lacks pigmentation, go for it, but we on the other hand, embrace ours. yes, thank you kindly.)

feel free to rec some ladies, images, anything! / see the TAGS! if they don’t load, refresh. it’ll take a sec.

OTHERS BY ME

OCTOBER 2010
76 POSTS

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moonbutterfly asked: I love your blog. I feel like you're getting across a wonderful message: that no matter their background, women are beautiful and they should feel this way. 
Thank you for your tumblr. Keep it up!
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Anonymous asked: I love your blog! You are awesome. If you find any, could you post some ethnic women with no make up on?
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DISCLAIMERS:

1. I am not google.

I wish I was.

 That would be great. But I’m not. Finding the style of photography we see all over tumblr to include non-white peoples is hard enough, and adding size to the issue is just that much more. I have no problem posting such images (if they are high quality, yes, I am low quality camera prejudiced, sorry.) that are submitted, or if they are linked. But do people do that? No, they just complain that I’m being weightist. I’m not.

2. I have a life, sorry guys!

I don’t know what else to say on this issue. Tumblr users for some reason expect those who run “fuckyeah” blogs to have nothing but free time on their hands, and the internet search capabilities of google. We’re busy. I’m not an adolescent. I have responsibilities. And a life for that matter.

3. If you don’t see enough of what you like, and you know where you can find it, help out.

I love running fuckyeahethnicwomen but….….sometimes it is just so frustrating. Instead of helping, people just whine. Instead of reading what I have to say, people also, whine. I feel like a lot of women’s issues are like this. People complain, but do little to help the actual cause. Just a lot of time talking, with no action. 

My thoughts? Instead of reblogging your critiques, how about trying to help me improve yourselves? Finding photographers or images that fit the flow of the blog yourself? Yes? 

4. The submit button is right there. I do my best, but you have to be reasonable, you know

I think this one is fairly self explanatory.

5. I actually am not overly concerned about sex here, but gender. 

NO MENZ ALLOWED! Rah, rah, etcetera. I’ve posted some transwomen here too, but I don’t announce it or anything.If she looks like a woman, wants to be a woman, she’s a woman to me. Sorry suddenly feeling uncomfortable straight guys ;)

 Oh, androgynous women are fine too. 

6. That’s all guys. I’m trying.

 I’m not google. I’m only one person. I’ve been getting some of these sort of replies on occasion from people that do not regularly follow, or haven’t read my thoughts on these issues. So read carefully before you choose to rant, thanks.


AND NOW THE FAQ!

WHAT TYPE OF IMAGES ARE YOU LOOKING FOR?

I have noted the following several, several times. I only post HIGH QUALITY IMAGES. I will not post photos of you making pouty faces in front of your webcam. Sorry ladies.I generally go for SLR quality photos as opposed to ones taken with a regular camera or a webcam. Unfortunately, I do not particularly intend to post just everyday random photos of of women, taken with [webcams or cell phone cameras] as I just mentioned. There are already many tumblrs that do so; what I haven’t seen are photography related tumblrs that feature women of colour. Tumblr was originally largely just photography and art, but again, white. This is my attempt to remedy that. Photography, and art is largely what I post. (Yes, photography is art, etcetera, but I am being vague here. Paintings, digital art, etc.)

Also, I tend to avoid “regular: photos because I feel like I am reblogging someone’s facebook photo, which weirds me out a little bit. I suppose if a photo has been taken in the nature of photography, it feels less bizarre to me, especially on tumblr where people continuously reblog anonymous faces as it is. Like I said, there are tumblrs that do this already.

DO YOU ONLY POST MODELS? THAT’S ONLY TYPE OF BEAUTY!

Actually, they’re not all models. Many are in fact actresses, singers, comediennes, or even reporters. Some of them are, yes, in the media. However if I find high quality photos taken by a young girl with a camera, or just anybody, that portrays non-white women- I post them.That being said, when I find them, I post them. Many “artsy” photos on the internet are by “white” people, of white people, and it’s not as though I can just google “Non-white photography subjects of all shapes and sizes!” However, as many of those type of women are usually not in photography, aside from red carpet images, which I try not to post, this is an issue.I post what I find on the internet. High quality photography. I’m not a photographer, nor do I even own an SLR. If I did, I would attempt to diversify my photos. As I’ve noted previously, not all of the pictures I post are models.

BUT STILL, YOU ONLY POST ‘THOSE SKINNY BITCHES! EVERYONE IS STILL SKINNY!”

Once again, I post what I find, and when I stumble upon something or it shows up on my dash. I have tried searching on flickr but people generally do not post tags like, “subject: Chinese weight: normal” or something. I have tried searching on occasion, but I do not have the time to sit and look through hundreds of photos on flickr. Whatever thoughts I have, this person is too skinny, this person is too…those stay out. I post photographs that I find beautiful, that are submitted, and generally just what I find.My second issue is how people complain that everyone posted “looks like a model.” Well considering I reblog a lot of people’s (once again, high quality!) self portraits, or photography, I don’t see where that comes in. They’re not professional models. I do post images of professional models, but I also post images with a non-white female being used as a model. There is a difference.

And let’s be frank, no matter how beautiful, uniquely so, conventionally, or otherwise, would never become professional models. That is how the industry works. I also hate how people seem to discount these women as “not” being normal, either. The average woman comes in every size. That is all I was trying to say. Just as there’s “too much” curve bashing, if you lack curves, you’re not a real woman. You’re a little boy. This needs to stop. Women are women. The end. I also post photos that are not from the western world, where many of those women are in poverty and as a result are smaller. There also is an absence of variety in shape size in photography. It’s hard enough to find photography of “coloured” women, let alone ask they be different sizes.

I also want to note that cultural views of weight do differ. In some parts of the so-called non-developed world, bigger is more beautiful as being thin is a sign of emaciation. Context is everything. Your view of weight can be privileged, so please analyze the context of a photography before you make assumptions.

WHY DON’T YOU ADD COMMENTARY? IT’S SO BORING ONLY LOOKING AT GORGEOUS WOMEN! WHO ARE THEY?

I also do not have time to add a little tidbit to every photo I post. That would be nice, but frankly I do not have the time or energy at this point in time. Also, considering I have hundreds of posts in my queue as it is, and do not always have time to tag them, let alone add informational pieces to them…well I am sure you can see where I am going with this. If you are curious to know more about them and there is no tag, feel free to ask me via the ask box.

CAN I SUBMIT? I WANT TO SUBMIT!

Of course! If you or anyone else would like to submit (high-quality) photos and add a description, by all means, go ahead. I would welcome it. In fact, for example, if you know anyone with a flickr account that is a great photographer, or an artist, recommend them or submit the photos and I will post them for sure. :)



INFO: New Book—Running The Dusk - Celebrating a New Generation of Caribbean Poets Storying the World « Repeating Islands

Posted by: lisaparavisini | October 5, 2010

Celebrating a New Generation of Caribbean Poets Storying the World


This from Stabroek News . . .

This week features Christian Campbell, a young writer of Bahamian and Trinidadian heritage, an Oxford Rhodes Scholar and member of the teaching Faculty of the Department of English at the University of Toronto. His poetry and essays have been published widely in journals and anthologies such as Callaloo, Indiana Review, New Caribbean Poetry, New Poetries IV, PN Review, Poetry London, Small Axe, The Ringing Ear: Black Poets Lean South, The Routledge Companion to Anglophone Caribbean Literature, Wasafiri and West Branch.  His work has been translated into Spanish in the anthology Poetas del Caribe Ingles.

Campbell has been making literary headlines for the last few months for his first book of poetry, Running the Dusk, published by London based Peepal Tree Press, a publishing house that specializes in Caribbean and Black British writers. Running the Dusk was named a finalist for the Cave Canem Prize by African-American poet Sonia Sanchez, and was shortlisted for the prestigious 2010 Forward Poetry Prize for the Best First Book in the UK.

The Forward Poetry prizes were created in 1991 to bring contemporary poetry to a wider audience. Often referred to as the ‘Bardic Booker’, this is the UK’s most valuable annual poetry competition as well as the only major awards that honour both established and up-and-coming poets. Campbell is the second Caribbean poet to be shortlisted for the Forward Prize for Best First Collection.  The first was Kwame Dawes, who went on to win the prize in 1994.

Just last week, it was announced that Running the Dusk had also made the shortlist of six (from a record 95 entries) for the Aldeburgh First Collection Prize, another influential and established poetry prize in the UK.

The back cover description reads: “Christian Campbell takes us to dusk, what the French call l’heure entre chien et loup, the hour between dog and wolf, to explore ambiguity and intersection, danger and desire, loss and possibility.  These poems of wild imagination shift shape and shift generation, remapping Caribbean, British and African American geographies: Oxford becomes Oxfraud; Shabba Ranks duets with Césaire; Sidney Poitier is reconsidered in an exam question; market women hawk poetry beside knock-off Gucci bags; elegies for ancestors are also for land and sea.  Here is dancing at the crossroads between reverence and irreverence. Dusk is memory, dusk is dream, dusk is a way to re-imagine the past.”

The reviews of this collection have hailed it as nothing short of outstanding. Pulitzer Prize-winning poet Yusef Komunyakaa says,  “Running the Dusk gives us a new voice for Caribbean arts and letters, and Christian Campbell is one of the few perfectly suited to accept this mantle. His poems don’t address the obvious in a tumultuous, beautiful landscape of hearts and minds, personal and public rituals, but his voice dares to take a step beyond, to bridge the diaspora of the spirit.  If you’re holding Running the Dusk in your hands, you are lucky to be facing the gutsy work of a long-distance runner who possesses the wit and endurance, the staying power of authentic genius. This first collection is controlled beauty and strength, and the exhilaration of images and music encountered are necessary and believable”.

Elizabeth Alexander, Obama’s Inaugural Poet and Chair of African American Studies at Yale University, describes Dusk as “A truly auspicious debut by a brilliant young writer of wide-open ear and versatile tongue.  Campbell’s imagery slices through fog; these poems are nourished by New World etymologies and old-school ways and wisdoms.  His use of poetic form is drum-tight and yet these poems unfold like the infinity of a coast-line, sinuous and generous.  In the black diaspora Campbell writes from and about, “all angels have afros” and all poems are song.  Running the Dusk is deep-souled, keen-eyed, knowing, honed, gorgeous.  This is a heralding book we’ll be talking about for a long time to come.”

On Wednesday October 6th Christian Campbell will learn whether his book has won the Forward Prize, and on November 5th the Aldeburgh winners will be announced. We wish him the very best. Whatever the outcome, he’s already a winner for us, part of a new and dynamic generation of Caribbean cultural producers who dare to imagine and illuminate our worlds. This is a beautifully Caribbean story, with its movement and border-crossings, and one that Campbell whole-heartedly embraces in a recent interview in which he described some of what inspires him to write: “The Babel-babble of a streetcar in Toronto or downtown Nassau. The beauty and the failure of this polyglot. Not English, not Spanish, not Yoruba, not Hindi, not Creole but what is made out of their cutting, mixing, scratching, looping and, above all, the need to create my own language with which to make sense of myself and the world.”

And speaking with Lisa Allen-Agostini in Caribbean Review of Books, Campbell gives us a glimpse of how personal biography shapes the gift of his poetic voice: “I was raised by a Bahamian and a Trinidadian, and I was raised as a Bahamian and a Trinidadian. There’s also Grenada and Colombia/Venezuela (to open up the arc), and there’s likely Haiti somewhere down the line. My breed of Caribbean person is not strange at all. I’m a UWI baby — my parents met at the University of the West Indies, St Augustine. In the diaspora, and Toronto in particular, it makes perfect sense, because there is a lot of this cross-Caribbean mix-up business. The thing is, we haven’t really talked enough about what this means. At a very early age, I knew the troubles and limits of nationalism and I know that I must also make trouble for the nation.

My heritage gave me an innate sense of the broadness of the Caribbean and the many Caribbeans — “broader than Broadway,” as Barrington Levy would put it. It grounds me in my ability to fully draw on the spiritual resources of all the Caribbeans. It’s all mine.”

We hope the bookstores in Guyana order and stock this book, so we can celebrate this young poet’s compassionate and inclusive vision that touches us all. We share with you one of Christian Campbell’s poems, Iguana, so you can see for yourselves.


Iguana

for A.T.

My friend from Guyana

was asked in Philadelphia

if she was from “Iguana.”

Iguana, which crawls and then

stills, which flicks its tongue at the sun.

In History we learned that Lucayans

ate iguana, that Caribs

(my grandmother’s people)
ate Lucayans (the people of Guanahani).

Guiana (the colonial way,

with an i, southernmost

of the Caribbean) is iguana; Inagua

(southernmost of The Bahamas,

northernmost of the Caribbean)

is iguana— Inagua, crossroads with Haiti,

Inagua of the salt and flamingos.

The Spanish called it Heneagua,

“water is to be found there,"

water, water everywhere.

Guyana (in the language of Arawaks,

Wai Ana, “Land of Many Waters”)

is iguana, veins running through land,

grooves between green scales.

My grandmother from Moruga

(southern-most in Trinidad)

knew the names of things.

She rubbed iguana with bird pepper,

she cooked its sweet meat.

The earth is on the back

of an ageless iguana.

We are all from the Land of Iguana,

Hewanorra, Carib name for St. Lucia.

And all the iguanas scurry away from me.

And all the iguanas are dying.

© Christian Campbell

For the original report go to

http://www.stabroeknews.com/2010/features/in-the-diaspora/10/04/celebrating-a-new-generation-of-caribbean-poets-storying-the-world/

 

PALESTINE: The latest entries for the Israel Project photo contest + Woman Bound - Soldier Dances

The latest entries for the Israel Project photo contest

by Adam Horowitz on October 5, 2010 · 2 comments


Send to a Friend del.icio.us Digg Furl

 

We're helping to collect photos for the Israel Project's ‘Best Shots of Israel’ contest. Here are some more entries:

fortress

David Ehren sent the above photo to the Israel Project with the note, "I took this in Hebron last year. The flag, security camera, and machine gun nest, together with the national slogan, all sitting on Palestinian property, really captures the essence of Israel and could double as a tourist postcard. When can I claim my prize?"

 
Hebron1

Keren Carmeli also sent in some photos from Hebron that were taken in June earlier this year.

The first photo here on the right shows an Israeli checkpoint near the Old City of Hebron.

Hebron2

And the second photo shows shuttered Palestinian stores in Hebron's once thriving Old City that have now been forced to shut down due to the Israeli settler and military presence in the city.

Matthew Taylor sent this photo below:

taylorbilin

Along with an email saying:

Palestinians in Bil'in protest against Israel's confiscation of their farmland to expand the illegal settlement Matityahu East and build the illegal wall. Shortly after this picture was taken in June of 2005, Israeli soldiers opened fire with tear gas and rubber-coated steel bullets, severely injuring several Palestinian children. Since then, the Israeli Supreme Court has ruled that the wall must be rerouted, but the Israeli military has refused to obey the order. This is very typical of life in the Israeli-occupied West Bank.

I hope I win the prize. If so, I will donate to the village of Bil'in. Thank you so much for this glorious opportunity to contribute to making Israel a better place.

Thanks for these latest entries - keep'em coming!

_____________________________________________

Abergil redux: YouTube video shows IDF soldier dancing beside bound Palestinian woman

by SEHAM on OCTOBER 5, 2010 · 6 COMMENTS

 

INFO: Blood Stains Zimbabwe Diamonds -- In These Times

Culture » October 1, 2010

Blood Stains Zimbabwe Diamonds

After a promising discovery, endemic corruption causes hope to fade.

By Sam Gregory

Happier days: Miners dig for diamonds in Marange, in eastern Zimbabwe, in November 2006.

In its scramble to gain control of the diamond fields, the government killed and wounded hundreds of Zimbabweans. Forced labor and violence are still occurring on a large scale.

Grace Mugabe and Other Thieves

The revelation that President Robert Mugabe's wife Grace is a board member at Mbada Diamonds came as no surprise. Grace's appetite for shopping and luxury has angered many in Zimbabwe, where entire regions of the country depend on foreign aid for survival and basic healthcare is almost nonexistent. The Mugabes have long been suspected of having involvement in both Mbada and Canadile. These companies were supposedly formed by the Zimbabwean government to mine the diamonds for the benefit of all Zimbabweans, but the resulting wealth is being pocketed almost entirely by associates of the government, specifically the Mugabe-led ZANU PF faction.

The list of board members of both mining companies (some of whom are listed below) is a who's who of corruption and crime.

Canadile Miners Board of Directors

•Chairman Lovemore Kurotwi, a longtime ZANU PF member, played a major role in alleged war crimes against Zimbabweans, including the Matabeleland massacres.

•Adrian Taylor is a former mercenary who served in Sierra Leone during that country's struggle to contain the flow of blood diamonds.

•Yehuda Licht, an Israeli diamond dealer, allegedly spent time in an Angolan prison for diamond smuggling offenses.

•Ashok Pandeya is on Thailand's "most wanted" list for smuggling diamonds worth more than $100 million.

•Obert Mpofu, the ZANU PF minister of mines, is said to have close links to the operations of Canadile and is suspected of being an anonymous board member.

Mbada Diamonds Board of Directors

•Chairman Robert Mhlanga is Mugabe's former personal helicopter pilot.

•Grace Mugabe is Mugabe's wife.

•Sithengisiso Mpofu is Obert Mpofu's sister-in-law.

•Dingiswayo Ndlovu is Obert Mpofu's personal assistant.

MUTARE, ZIMBABWE—In 2006, Zimbabwe was on its knees. The country had been through a disastrous election the year before, marred by violence and fraud. Healthcare, almost nonexistent to start with, was receding, starvation was prevalent in rural areas and the effects of hyperinflation were taking a heavy toll on the economy. At the same time, international observers called for President Robert Mugabe to step down while his party, the Zimbabwe African National Union-Patriotic Front (ZANU PF), encouraged acts of violence against those who had not voted for him. It seemed Zimbabwe could stand no more.

But in June of that year, word began to spread of a diamond discovery in Manicaland, near the eastern border. The diamonds were small news at first, but in the next few months it became apparent that Zimbabwe had been thrown a lifeline. The long-suffering population realized the potential for economic growth and comparative stability, and after such a long and desperate time, it must have been a relief. The more cynical Zimbabweans, however, saw an impending conflict: great wealth up for grabs in a politically volatile climate. While the public celebrated, the corrupt minds behind Mugabe’s ZANU PF began to envisage the diamond wealth in their own pockets.

Fast forward to the present day. A few pockets have been filled, but the situation remains bleak for the average Zimbabwean.

The slaves of Mugodhi Hasha

Mutare, a town on Zimbabwe’s eastern border with Mozambique, lies nestled in the highlands of Manicaland province. To the west are the endless plains of flat, dry, typically African country, and to the east are the highlands. From Mutare, all you can see are the bush-clad mountains that surround the town and give it a dramatic, slightly intimidating backdrop.

Despite the natural beauty of the place, it is obvious to outsiders that something’s amiss. There’s a tension in the air here, stemming from the fact that Mutare’s residents are frightened of what happens on the other side of the mountains. Many of them have witnessed or been directly affected by the atrocities committed at the Marange and Chiadzwa mines that lie 20 miles to the west. The locals have a name for the mines that sums up their fear: Pits of Fury—Mugodhi Hasha in their native Shona.

Trymore Kambudzi (his name has been changed to protect his safety) lives on the streets of Mutare. He’s 16 years old and he sells Zimbabwean flags, along with other souvenirs, to the few tourists who pass through the border town. On a street corner near the center of town, he tells me that in 2007, he and his family were forcibly evicted from their home in Marange as part of the militarization of the nearby mines. For this he counts himself lucky—many were not so fortunate. “A lot of friends and people I knew were forced to work in the mines without pay,” Kambudzi says.

These latter-day slaves have been subjected to violence that has attracted the notice of the world’s human rights community. But Kambudzi has yet to see many of the people he left behind.

“There are stories about people you knew,” he says. “I hear rumors about something bad happening to friends, but how do I know? My family was just lucky we got moved away.” The government and the mining companies promised to cover the costs of the home they took from his family, but so far they haven’t seen a cent, and don’t expect to.

Everyone who is willing to talk about diamonds in Mutare (many aren’t) has a story of violence or death. A taxi driver, who agreed to take me as close to the mines as he could, told me about the initial appearance of the military at the mines and how the situation escalated. During the early stages of the diamond rush in late 2006, more than 20,000 Zimbabweans flocked to Manicaland province from all corners of the country.

Educated professionals who couldn’t find jobs in Bulawayo or Harare, the capital, or who weren’t being paid for the jobs they had, were moving to Manicaland to make their fortunes—or just enough to survive—in the diamond fields. At first, he says, there were only miners and a small number of officials. But as the army moved in, the mood changed. Miners were beaten and sometimes killed. The soldiers formed syndicates to smuggle diamonds to the Mozambique border and the South African border at Beitbridge. Those who were not in the syndicates or who angered the soldiers were often killed. From his home near Bazeley Bridge, the taxi driver says he sometimes heard machine gun fire in the distance.

Along the way to the mines, the taxi driver pulled the car to the side. The first roadblock was just over the horizon, and he didn’t want to drive too close. If soldiers saw us turn around in front of the roadblock, they might follow. “The fact that you’re white will make the soldiers suspicious of us,” he says.

In its scramble to gain control of the diamond fields in 2008, the government killed and wounded hundreds of Zimbabweans, perhaps thousands. Soldiers used dogs to track the miners who hid in the surrounding bush. Most were killed by small arms fire or beatings, but there were reports of helicopters being used to fire upon miners as they tried to find cover in the pits. Nongovernmental organizations such as Global Witness and Human Rights Watch have compiled reports of murder, torture and rape at the mines, particularly Chiadzwa. They claim the abuses are still occurring at the mines and accuse the Zimbabwean government of covering up the violence. People I spoke with in Manicaland confirmed that forced labor and violence are still occurring on a large scale.

Back in Harare, Munya Radzi, an elder from a small village near Chimanimani, 40 miles south of Mutare, spoke of the early days of what he calls “the rush.” “You couldn’t help but get excited,” Radzi says. In 2007, a young man who had been working at a farm nearby approached him. “The boy handed me a stone the size of a strawberry. It was like a normal stone but you could see into it slightly.”

A period of comparative prosperity in the community was brutally cut short when the police and army moved into the town and began to force people into trafficking diamonds between the mines and Vila De Manica, Mozambique. The soldiers would take most or all of the profits from the miners. “This is why I moved to the city,” he says.

‘When the president is greedy, the people are poor’

Human rights abuses, slavery and murder are manifestations of Zimbabwe’s rampant corruption. In Transparency International’s 2009 Corruptions Perceptions Index, Zimbabwe ranked as one of the most corrupt: 146th out of 180 nations. For a country with so little, Zimbabwe stands to lose a lot.

The diamonds themselves are generally low quality, suitable for industrial sale only. Five to 10 percent are gem quality; these fetch a far higher price. But it is the sheer quantity of diamonds in the Marange area that has caused such a stir in the international mining industry. Most estimates value the diamonds at between $1.5 and $2 billion per year for the next 10 years, at least. Diamonds already stockpiled by the government have been estimated at $1.7 billion. With this sort of money up for grabs, corruption is inevitable.

African Consolidated Resources, a company registered in London, owned the land where the majority of the diamonds lie and was in the process of setting up mining operations when the government invaded and occupied the property. Soon after it had appropriated the land, the Mugabe government set up two companies to mine and sell the diamonds.

These companies, joint ventures between South African investors and the Zimbabwean government, are named Mbada Diamonds and Canadile Miners. The board of directors at both Mbada and Canadile consist of ZANU PF supporters, family members of politicians and shady figures in the diamond trading industry. It recently came to light that Grace Mugabe, President Mugabe’s wife, is a director at Mbada Diamonds, and Minister of Mines Obert Mpofu, a ZANU PF member of parliament, is widely believed to be a director of Canadile.

Mpofu is apparently benefiting from a source of income over and above his salary as a minister. Earlier this year, he purchased a considerable amount of property in Bulawayo, including a race course and a casino.

So far, for all the hundreds of millions of dollars worth of diamonds sold illegally by the government and its agencies, only $800,000 has been deposited into government coffers. The rest has disappeared into anonymous pockets. Investigations conducted by the Zimbabwe Independent, a weekly published in Harare, have revealed that profits from illegal diamond sales have been deposited into private Harare bank accounts in ABC (BancABC based in Gabarone, Botswana) and CBZ (Commercial Bank of Zimbabwe, based in Harare) via money transfers from a New York branch of Standard Chartered, a London-based bank.

Rudzi, the elderly man from the Chimanimani area, expressed his sense of betrayal when asked about the accusations of corruption being directed at the government. “When the president is greedy, the people are poor,” he says.

Enter the Kimberley Process

In July, the Kimberley Process (KP), a civic society concerned with the ethical mining and selling of diamonds, met in St. Petersburg, Russia, to discuss the issue of Zimbabwe’s diamonds. A June meeting in Tel Aviv, Israel, upheld a previously issued sales ban on all Zimbabwean-mined diamonds on the grounds of human rights abuses and a lack of transparency.

Presented with overwhelming evidence of abuse and corruption, the KP was faced with a dilemma. Weeks before, Mugabe had threatened to sell the diamonds with or without KP certification. If the ban was upheld, Mugabe would sell the stones to China or Iran for a lower price, Zimbabwe would be expelled from the KP, and there would be fewer controls on mining and sales.

At its St. Petersburg meeting, the KP chose to lift the ban. By doing so, it retained access to the mines and a measure of control over legitimate sales.

Accusations of corruption within the KP have also surfaced recently. The KP’s first choice of inspector for Zimbabwe’s diamond industry was rejected by Mugabe himself, raising questions of why current KP inspector Abbey Chicane, a South African, was deemed suitable. Chicane has consistently belittled reports of human rights abuses and illegal mining. He is widely known to have been responsible for the June 3 arrest in Mutare of Farai Maguwu, a Zimbabwean human rights activist who was subsequently jailed for allegedly providing false information to the KP.

Most Zimbabweans I’ve spoken to agree with KP’s decision to lift the ban. Although they’ve resigned themselves to a large amount of government corruption, the perception is that they’ll get more from legal sales than illegal.

Where to from here?

Many think the diamonds in Zimbabwe’s soil could be the source of its financial recovery. Certainly, if administered correctly and without excessive corruption, the mines could boost the fortunes of Zimbabwe’s failing economy. In terms of domestic politics, the diamond issue has done serious damage to relations within the current coalition government. Members of the MDC, Movement for Democratic Change, particularly Minister of Finance Tendai Biti and Prime Minister Morgan Tsvangarai, have expressed revulsion at the fact that, while people are starving, ZANU PF politicians and their associates are becoming rich from stolen national resources. They’ve also indicated that the diamonds may be used to fuel violence during the elections scheduled for next year.

While on its knees, Zimbabwe was handed an opportunity by Mother Nature herself. At this point, it appears the opportunity has been squandered. 

VIDEO: Somi


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