PUB: Perugia Press

Perugia Press Prize
for a First or Second Book by a Woman

Prize: $1000 and publication

Guidelines

(click here for printable version)

Manuscript Requirements

  • Send between 48 and 72 pages, on white, 8.5 x 11-inch paper, with legible typeface, pagination, and fastened with a removable clip. No more than one poem per page.
  • Include two cover pages: one with title of manuscript, name, address, telephone number, and e-mail address, and one with just title of manuscript. Cover letter and bio not required.
  • Include contents and publications acknowledgments pages.

Eligibility

  • Poet must be a living US resident.
  • Poet must have no more than one previously published book of poems. Chapbooks and books in other genres do not count. If the submission is for a second book, please indicate on acknowledgments page the title of your first book.
  • Translations and previously self-published books are not eligible, nor are revisions; the winning manuscript may undergo revisions before publication.
  • Poets who have had manuscripts reviewed by Perugia Press Editor Susan Kan are not eligible to enter.

Terms

  • An entry fee of $25 must accompany each submission, made payable to Perugia Press. You may submit more than one manuscript; each is considered a separate submission and must include a separate entry fee.
  • Individual poems may have been published previously in magazines, journals, chapbooks of fewer than 48 pages, or anthologies, but the collection as a whole must be unpublished.
  • Simultaneous submissions permitted. Notify Perugia Press if accepted elsewhere.

Judging Process

  • To be certain that manuscripts receive the fairest consideration, all manuscripts are submitted to the judging panel anonymously.
  • Identifying material, acknowledgment pages, and bios are removed and filed for reference at the conclusion of the competition.
  • All readers are trusted and respected by Perugia Press.

Notification

  • Winner is announced via e-mail or enclose SASE. Notification will be by April 1.
  • Do not enclose SASE for return of manuscript; all manuscripts will be recycled at the conclusion of the competition. Please do not send your only copy.

Deadline

  • Entry must be postmarked between August 1 and November 15.
  • Early submissions strongly encouraged.

Mail Manuscript and Entry Fee to: (No FedEx or UPS)

Perugia Press Prize, P.O. Box 60364, Florence, MA 01062

Ethics Statement

We endorse and agree to comply with the following statement released by the Council of Literary Magazines and Presses:

CLMP's community of independent literary publishers believes that ethical contests serve our shared goal: to connect writers and readers by publishing exceptional writing. We believe that intent to act ethically, clarity of guidelines, and transparency of process form the foundation of an ethical contest. To that end, we agree to:
1) conduct our contests as ethically as possible and to address any unethical behavior on the part of our readers, judges, or editors;
2) provide clear and specific contest guidelines - defining conflict of interest for all parties involved; and
3) make the mechanics of our selection process available to the public.
This Code recognizes that different contest models produce different results, but that each model can be run ethically. We have adopted this Code to reinforce our integrity and dedication as a publishing community and to ensure that our contests contribute to a vibrant literary heritage.

 

PUB: UNTPRESS: Information for Potential Authors

Announcing the 2010 winner of our Vassar Miller Prize in Poetry,

Caki Wilkinson
whose tentatively titled Lady on a Unicycle was selected by J. D. McClatchy

To be published in April 2011

 

The Vassar Miller Prize in Poetry 2011

The winner of this annual award receives $1000 and publication by the University of North Texas Press.

This year’s judge will be Lisa Russ Spaar. To avoid conflicts of interest, current or former students of the judge should not enter.

Postmark deadline: November 15, 2010

Submit 50- to 80-page, typed manuscript, including an additional title page that does not bear the name of the poet. All pages indicating the poet's identity will be removed from the manuscript prior to its being forwarded to the final judge.

Manuscripts cannot be returned and must be accompanied by $25 entry fee (payable to UNT Press) and a letter-sized SASE for notification.

Previously published portions of the manuscript should be identified on a separate acknowledgment page. Once a winner is declared and contracted for publication, UNT Press will hold the rights to the poems in the winning collection. They may no longer be under consideration for serial publication elsewhere and must be withdrawn by the author from consideration.

Winning manuscript will be announced by March 15, 2011.

Send manuscripts to:

John Poch
Vassar Miller Prize
Department of English
Texas Tech University
Lubbock, TX 79409-3091

 

 

 

PUB: Nightboat Books » Prize

Nightboat Books invites submissions to the 2010 Nightboat Poetry Prize. The winning poet receives $1,000, a standard royalty contract, and 25 free copies of the published book. Finalists are considered for future publication.

JUDGE: Kimiko Hahn

Please carefully follow the submission instructions. Thanks!

DEADLINE: Postmark date between September 1, 2010 and November 15, 2010.


Complete Guidelines:

 

ELIGIBILITY: Any poet writing in English is eligible who: 1. does not have a close personal or professional relationship to the judge; 2. is not a current or recent (within the past two years) student of the judge; and 3. is not affiliated with Nightboat Books. Previous book publication is not a consideration for eligibility. Poems published in print or on-line periodicals, anthologies, or chapbooks may be included, but the manuscript itself must be unpublished. Original work only; translations are ineligible.

FORMAT: 48 to 70 pages (suggested length), single-spaced, paginated, no more than one poem per page, double-sided preferred. The manuscript must be typed (clear photocopies are acceptable) and bound only by a spring clip. Include two title pages (one with book title, name, address, telephone and email; one with book title only), table of contents, and acknowledgments page. The author’s name should not appear anywhere in the manuscript except on the first title page.

NOTIFICATION: Enclose a standard business-size SASE for winner notification. We will not return manuscripts. Please do not send your only copy. Send a self-addressed, stamped postcard for notification of manuscript receipt (optional). Nightboat Books cannot answer questions regarding submissions during the reading period.

SIMULTANEOUS SUBMISSIONS: Simultaneous submissions are acceptable. Please notify Nightboat Books immediately if your manuscript is accepted elsewhere.

MULTIPLE SUBMISSIONS: Submission of more than one manuscript is acceptable. Each manuscript must be submitted separately, each with a separate entry fee and SASE.

INTERNATIONAL SUBMISSIONS: We accept International Submissions. (Please remember to include your email address and entry fee payable in US dollars.)

REVISIONS: The winner will have the opportunity to revise the manuscript before publication. No revisions will be considered during the reading period.

ENTRY FEE: A $25 entry fee in the form of a check or money order payable to Nightboat Books must accompany all submissions. In the event that the judge does not find an entry suitable for publication, reading fees will be returned to all entrants. Entrants to this year’s competition may receive a complimentary copy of the winning book. Please enclose a 9×12 self-addressed, stamped envelope with $3.00 in postage if you would like to receive the book.

DEADLINE: November 15, 201o Postmark. Winner will be announced by April 1, 2011. Winning collection to be published Spring 2012.

SEND YOUR HARDCOPY SUBMISSION, ALONG WITH THE REQUIRED ENTRY FEE, BY FIRST-CLASS MAIL TO:
Nightboat Poetry Prize
P.O. Box 10
Callicoon, NY 12723

Fed Ex or UPS submissions cannot be accepted. No online or fax submissions.

MORE INFO: Email questions/comments to info@nightboat.org, but please do not send your manuscript to this email address.

Thanks and Good Luck! We look very forward to receiving your work.

Council of Literary Magazines & Presses Contest Code of Ethics

CLMP’s community of independent literary publishers believes that ethical contests serve our shared goal: to connect writers and readers by publishing exceptional writing. We believe that intent to act ethically, clarity of guidelines, and transparency of process form the foundation of an ethical contest. To that end, we agree to 1) conduct our contests as ethically as possible and to address any unethical behavior on the part of our readers, judges, or editors; 2) to provide clear and specific contest guidelines—defining conflict of interest for all parties involved; and 3) to make the mechanics of our selection process available to the public. This Code recognizes that different contest models produce different results, but that each model can be run ethically. We have adopted this Code to reinforce our integrity and dedication as a publishing community and to ensure that our contests contribute to a vibrant literary heritage.

 

AUDIO INTERVIEW: Marlon James - Novel explores the horror of West Indian slavery | Minnesota Public Radio NewsQ

Novel explores the horror of West Indian slavery

by Euan Kerr, Minnesota Public Radio
February 26, 2009

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Writer Marlon James is being hailed as a new voice of Jamaican literature - which is pretty remarkable given he lives in St Paul.

St. Paul, Minn. — He was born in Kingston Jamaica, and now teaches literature and creative writing at Macalester College.

His new novel "The Book of Night Women" is the story of Lilith, a young slave living on a brutal Jamaican plantation in the year 1800. His writing has been compared with Zadie Smith, Edwidge Dandicat and Junot Diaz, who have all written of the legacy of colonialism around the Caribbean.

James says "The Book of Night Women" started as another story, set 30 years later, after the end of slavery in Jamaica. He told Minnesota Public Radio's Euan Kerr he was writing about a woman accused of murder, when, as James puts it, the story got hijacked.

Larger view

Marlon James in his office at Macalester College where he teaches literature and creative writing. (MPR photo/Euan Kerr)

via minnesota.publicradio.org

__________________________________

Womanchild in the Oppressive Land

Illustration by Matt Dorfman

 

Published: February 26, 2009

Marlon James’s second novel is both beautifully written and devastating. While the gruesome history of slavery in the Americas is a story we may dare to think we already know, every page of “The Book of Night Women” reminds us that we don’t know nearly enough. James’s narrative, related in a hard-edged but lilting dialect, takes us back to the cruel world of a Jamaican sugar plantation at the turn of the 19th century.

THE BOOK OF NIGHT WOMEN

By Marlon James

417 pp. Riverhead Books. $26.95

Yet while his cast includes sadistic plantation owners and vicious overseers, “house Negroes” and field slaves, James deftly avoids the clichéd melodrama such characters all too often inspire. He never draws rigid lines between good and evil, and he never takes sides.

At the center of “The Book of Night Women” is a black-skinned, green-eyed slave woman, barely out of childhood, who struggles to transcend the violence into which she is born, a violence that begins with her first breath as a “baby wash in crimson and squealing like it just depart heaven to come to hell.” Orphaned when her mother dies giving birth to her, Lilith more or less raises herself in the hell of the Montpelier Estate, a closed and brutal society all its own, where nothing is as it seems and nearly everyone has secrets to conceal.

Deformed by the perverse intimacy of a system that has transformed people — both white and black — into animals, this is a place where, paradoxically, true closeness, be it of love or even solidarity, is hard to come by.

Yet Lilith has an opportunity to shed her isolation when she’s invited to join the Night Women, a clandestine slave sisterhood conspiring to stage an islandwide revolt. These women awaken in Lilith a “true darkness and true womanness,” revealing to her a purpose of which she has been unaware. But although Lilith’s name bears a timeless symbolic charge, she will not become the heroine the Night Women — or we — would like her to be.

Lilith is convinced that her green eyes, proof that her father was a white man, make her not only special but better than other slaves. Shamelessly affirming that the “arrow from ugly to pretty was from black to white,” she has aspirations far beyond what the Night Women can offer. Vain and foolish, impetuous and ungrateful, Lilith refuses to ally herself with her would-be sisters, and so ends up learning painful lessons all on her own.

Although Lilith rarely behaves as she “should,” she’s convincing and consistent in her belief that despite her lowly status as a slave and a woman, she has the right to want more: “Sometimes she wish the great God would come and flood out every body again. The field, the estate and the county. The country and the world. Maybe everybody start again and slave is free and free is slave.”

Ultimately, Lilith is a slave who will not be a victim, a mulatto who will not be tragic. And for this she is brutally beaten, becoming known as “the woman with the quilt on her back.” Yet despite her suffering, she insists that “scar only make the skin stronger,” and that “there be no whip, in hands or in a pants, that goin’ knock her down again.”

Significant parts of “The Book of Night Women” are, understandably, very difficult to read. Rape, torture, murder and other dehumanizing acts propel the narrative, never failing to shock in both their depravity and their humanness. It is this complex intertwining that makes James’s book so disturbing and so eloquent. Writing in the spirit of Toni Morrison and Alice Walker but in a style all his own, James has conducted an experiment in how to write the unspeakable — even the unthinkable. And the results of that experiment are an undeniable success.

Kaiama L. Glover teaches French and Francophone literature at Barnard College.

>via: http://www.nytimes.com/2009/03/01/books/review/Glover-t.html?_r=2&scp=1&a...

 

REVIEW: Movie—An Inconvenient Superman: Davis Guggenheim's New Film Hijacks School Reform

Rick Ayers

Rick Ayers

Posted: September 17, 2010 12:04 PM


I'm not categorically opposed to charter schools; they can and often do allow a group of creative and innovative teachers, parents, and communities to build schools that work for their kids and are free of the deadening bureaucracy of most districts. These schools can be catalysts for even larger changes. But there are really two main opposing positions in the "charter movement" -- it's not really a movement, by the way, but rather a diverse range of different projects. On one side are those who hope to use the charter option to operate effective small schools that are autonomous from districts. On the other side are the corporate powerhouses and the ideological opponents of all things public who see this as a chance to break the teacher's unions and to privatize education. Superman is a shill for the latter. Caring, thoughtful teachers are working hard in both types of schools. But their efforts are being framed and defined, even undermined, by powerful forces that have seized the mantle of "reform."

The film dismisses with a side comment the inconvenient truth that our schools are criminally underfunded. Money's not the answer, it glibly declares. Nor does it suggest that students would have better outcomes if their communities had jobs, health care, decent housing, and a living wage. Particularly dishonest is the fact that Guggenheim never mentions the tens of millions of dollars of private money that has poured into the Harlem Children's Zone, the model and superman we are relentlessly instructed to aspire to. Those funds create full family services and a state of the art school. In a sleight of hand, the film magically shifts focus, turning to "bad teaching" as the problem in the poor schools while ignoring these millions of dollars that make people clamor to get into the Promise Academy. As a friend of mine said, "Well, at least now we know what it costs."

It is so sad to see hundreds of families lined up at these essentially private schools with a public charter cover, praying to get in. Who wouldn't want to get in? Families are paraded in front of the cameras as they wait for an admission lottery in an auditorium where the winners' names are pulled from a hat and read aloud, while the losing families trudge out in tears with cameras looming in their faces.

After dismissing funding as a factor, Superman rolls out the drum-beat of attacks on teachers as the first and really the only problem. Except for a few patronizing pats on the head for educators, the film describes school failure as boiling down to bad teachers. Relying on old clichés that single out the handful of loser teachers anyone could dig up, Waiting for Superman asserts that the unions are the boogey man. In his perfect world, there would be no unions -- we could drive teacher wages even lower, run schools like little corporations, and race to the bottom just as we have in the manufacturing sector. Imagining that the profit motive works best, the privatizers propose merit pay for teachers whose students test well. Such a scheme would only lead to adult cheating (which has already started), to well-connected teachers packing their classes with privileged kids, and to an undermining of the very essence of effective schools -- collaboration between teachers, generous community building with students.

It is interesting to note that Arne Duncan, as well as the Obama kids, attended the University of Chicago Lab Schools - where teachers had small classes, good pay, and, yes, a union. Students did not concentrate on rote learning and mindless drill and skill or test prep. They were offered in part an exploratory, questioning curriculum. But apparently the masses need to have sweatshop schools. Waiting for Superman sets up AFT president Randi Weingarten as its Darth Vader -- accompanying her appearance on the screen with dire background music. They tell us that the teachers unions have put $50 million into election campaigns over the last ten years, essentially buying politicians. Actually, this number is a pittance compared to what corporations and the rich throw in. It is less than Meg Whitman spent of her own money in one run for governor of California. But the film carefully avoids interviewing Diane Ravitch, the lead organizer of the Education Trust and No Child Left Behind efforts who has been lately writing and speaking about her realization that these reforms have had a disastrous effect on schools and teaching and learning.

When African American and Chicano Latino families in the 1960's were demanding quality education and access to the resources of the best schools, they were also rejecting the myths about blackness meaning culturally deprived. Today that social revolution has been effectively set back. Schools are more segregated today than before Brown v. Board of Education in 1954; nothing is said about that. Black and Brown students are being suspended and expelled, searched and criminalized; not a word. In place of a movement for transforming power relationships in our society, privatizers and corporate managers step up to define the problem -- proposing a revolution that is anything but revolutionary.

A strong project of education transformation would recognize the funds of knowledge urban students come to school with; it would honor the literacy and language practices of the community. It would support a curriculum of questioning, as students examine their world and imagine ways to make it better. It would put front and center the need to build learning communities, to motivate students to want to learn and believe there was something worth learning. It would create an engaged learning experience for all students, not just the handful who learn to endure boredom and insult in hopes of high income later. In the hands of these so-called reformers, though, the only goal is to train urban students to be obedient followers; they never propose a project that transforms and empowers communities, only holding out the promise for a few exceptional students to escape the ghetto. You can see white middle class audience members sighing, comforted to know that everyone really wants to be like us; that everyone who is not like us is tragic. The film bubbles over with terms like escape and rescue, promoting a liberal charity mentality that is never in solidarity the local community, only regards it as something dysfunctional that needs to be controlled.

In addition, Waiting for Superman promotes the idea that we are in a dire war for US dominance in the world. The poster advertising the film shows a nightmarish battlefield in stark grey, then a little white girl sitting at a desk is dropped in the midst of it. The text: "The fate of our country won't be decided on a battlefield. It will be determined in a classroom." This is a common theme of the so-called reformers: we are at war with India and China and we have to out-math them and crush them so that we can remain rich and they can stay in the sweatshops. But really, who declared this war? When did I as a teacher sign up as an officer in this war? And when did that 4th grade girl become a soldier in it? I have nothing against the Chinese, the Indians, or anyone else in the world -- I wish them well. Instead of this Global Social Darwinist fantasy, perhaps we should be helping kids imagine a world of global cooperation, sustainable economies, and equity

Waiting for Superman accepts a theory of learning that is embarrassing in its stupidity. In one of its many little cartoon segments, it purports to show how kids learn. The top of a child's head is cut open and a jumble of factoids is poured in. Ouch! Oh, and then the evil teacher union and regulations stop this productive pouring project. The film-makers betray no understanding of how people actually learn, the active and agentive participation of students in the learning process. They ignore the social construction of knowledge, the difference between deep learning and rote memorization. The film unquestioningly bows down to standardized tests as the measure of student knowledge, school success. Such a testing regime bullies aside deeper learning, authentic assessment, portfolio and project based learning. Yes, deeper learning like this is difficult to measure with simple numbers -- but we can't let the desire for simple numbers simplify the educational project. Extensive research has demonstrated definitively that standardized testing reproduces inequities, marginalizes English Language Learners and those who do not grow up speaking a middle class vernacular, dumbs down the curriculum, and misinform policy. It is the wisdom of the misinformed, accepted against educational evidence and research. Never mind, they declare: we will define the future of education anyway.

Sadly, the narrow and blinkered reasoning in Waiting for Superman is behind the No Child Left Behind disaster rebranded as Race to the Top. Don't believe the hype. We can and we must do education, and educational change, much differently. We could develop an economy that supported communities which were well-resourced and democratic. We can right now create pathways in which all kids have a reasonable prospect of an honorable, interesting job in their future. And if democracy and the future society concern us at all, we can and we must create schools which unleash students' creativity, imagination, and initiative.

 

 

 

EVENT: Berkeley, California—THE MUSIC OF THE WORD (LA PALABRA MUSICAL) Sunday September 26th w/FILIPINO ARTISTS & WRITERS & “CHOKWADI”

THE MUSIC OF THE WORD (LA PALABRA MUSICAL) Sunday September 26th w/FILIPINO ARTISTS & WRITERS & “CHOKWADI”

Avotcja Jiltonilro
by Avotcja Jiltonilro on Friday, September 24, 2010 at 8:51pm

 

Join us the 2nd & 4th Sunday of every Month

THE MUSIC OF THE WORD

(LA PALABRA MUSICAL)

still in English, Spanish, Spanglish y Lo Que Sea 

3:30 – 5:30PM   No Cover

hosted by Avotcja

(Donations for flyers accepted

& don’t forget to bring your Congas, 

Guiros, Maracas, Panderetas etc. 

Always the word festival to remember!

@

THE OTHER CHANGE OF HOBBIT

(a Science Fiction & Fantasy bookstore) 

3264 Adeline Street

wheel chair accessible

(½ block North of Alcatraz & 2 short blocks South of Ashby BART) 

Berkeley, CA 94703   (510)848-0413

or (510)OKHOBBIT

Sunday September 26th 

FILIPINO ARTISTS & WRITERS

(Edwin Lozada, Tony Robles, Karen Llagas,

AnnaBelle Udo & Oscar Peñaranda)

&

“CHOKWADI” (Poet/Dancer/Actress) 

& you on the Open Mic

¡Vengan todos & tell everyone to tell everyone! 

ochobbit@oytherchangeofhobbit.com  or www.otherchangeofhobbit.com

www.Avotcja.com or LaVerdadMusical@yahoo.com

 

 

Edwin Lozada

 

 

Chokwadi Alison Fletcher

 

 

 

VIDEO: VIEW FILM BROKEN SOCIAL CONTRACTS - Speaking for Human ELEVATION

Speaking for Human ELEVATION

Social activist, writer, director, producer and lecturer Laura Holman Rahman contributes to the stories of women and men of African descent by addressing intra-racial sexual terrorism in her film Broken Social Contracts© 2008.


The sections of the film is designed to raise awareness &  
                                              consciousness. Picture

The National College Women Sexual Victimization Study estimated that between 1 in 4 college women experience completed or attempted rape during their college years

84% of college men who committed rape said that what they did was definitely not rape.

42% of college women who are raped tell no one about their assault.

42% of the women who were raped said they had sex again with the men who assaulted them.

Nearly one third of college men said they were likely to have sex with an unwilling partner if they thought they could get away with it. *


*Statistics cited from US Department of Justice - Bureau of Justice Statistics


I am most appreciative to everyone who helped make this film a reality. The most gratitude is given to all the participants in the film who trusted me with their words and images...I am humbly honored for each of your presence. Thank You

 Synopsis


Rahman’s film explores female and male relationships on the backdrop of two elite historically black colleges, Spelman and Morehouse (sister/brother institutions) in Atlanta, Georgia surrounding allegations of sexual assault on their campuses during the 2006 semester. Broken Social Contracts provides analyses beyond these two institutions through its interwoven poignant testimonials of activists, students, and scholars on gender roles within our society. Broken Social Contracts is a catalyst for stimulating conversation, while demonstrating how to engage in healthy relationships.

Statistics of sexual violence in our relationships are jarring and disturbing. Broken Social Contracts creates a profound opportunity of discovery and addresses the necessity for open dialogue within institutions of higher learning. The film brings voice to many of whom are often not discussed in our circles of influence.

This is a film that addresses us ALL across race, class and gender!


PART 1   Addressing Sexual Terrorism

PART 2  The Commodity of Women's Bodies

PART 3   Impact of campus sexual violence

PART 4 Two Historic Black Colleges Relationship Challenged

PART 5 A Polarized College Campus Community

PART 6 sexual violence "Airing Dirty Laundry"

CONCLUSION Social Responsibility

CREDITS:

Picture
Broken Social Contracts production shot
Producer, Writer & Director
Laura L. Rahman
Associate Producer
Jubril A. Rahman
Production Assistant Intern
Imani N. Rahman
Original Music Score by
Jubril A. Rahman
Lawrence G. Rahman
Cinematography by
Laura L. Rahman
Graphic Artist
Habib Rahman
Editor
Laura L. Rahman
Sound Editors
Jubril A. Rahman
Lawrence G. Rahman
Background photograph stills
Sue Ross
Additional Photographs
Laura L. Rahman
Jubril A. Rahman
Angela White
BLK Publishing Company
Las Vegas ReviewJournal
Karla Ramoo
Trinidad Publishing Co.
King Magazine

Interviewees THANK YOU for
your gracious contributions and trust...

Tony C. Anderson                      Mychael Bond
Kevine Boggess                        Garrett Brooks
Leana Cabral                             Marquis Cannon
Pearl Cleage                             Johnetta B. Cole, PhD
Ulester Douglas                        Tiara Dungy
Marcus Edwards                       Khaatim S. El
Beverly Guy-Sheftall, PhD         M. Bahti Kuumba, PhD
Mansa Bilal (Mark King),PhD     Jacqueline Kennedy
Patricia McFadden, PhD            Christian Mitchell
Mark Anthony Neal, PhD           Opal Moore
Sulaiman Nuriddin                     Dionne Poulton
Starlette Tolerson                     Beverly Daniel Tatum, PhD
Brittny Ray                                Jessica Ekua Schroeder
Aishah Shahidah Simmons

Thank you for your Courage and Trust
Spelman College's Spring 2007  Violence Against Women's class

Camera Operators
Laura L. Rahman
Angela White
Rachel McMichael
Deborah Owhin

Legal Advisement
Lawrence C. Patrick, Esq.

Producer’s Special Thanks to…
Ayoka Chenzira
Digital Moving Image Salon at Spelman College's Women's Research &
Resource Center
National Black Programming Consortium
Beverly Guy-Sheftall, PhD
M. Bahati Kuumba, PhD
Pearl Cleage
Nonso Christian Ugbode
Kashara Robinson
Angela White
Deborah Owhin
Rachel McMichael
Yvonne Vinson

Much Gratitude and Appreciation to...
Jubril A. Rahman       
Habib A. Rahman
Imani N. Rahman
Lawrence G. Rahman
Aminia M. Baruti, MD
Joyce L. Turner Holman
Lawrence C. Patrick, Jr., Esq.

Poem ~ Ma Coeur~ (My Heart)
Written & Performed by
Jessica Ekua Schroeder
Poem ~ Violence Against Women~
Written & Performed by
Cheree Bell

In Memory of My SHEros...
Grandmama Marie Syph Blackman
Grandmama Evelyn Rowan Turner
Anna Julia Cooper
Harriet Tubman
Audre Lorde
Toni Cade Bambara
and my father...David Holman, Jr.

Laura L. Rahman, LLC,
the Producers and their affiliates specifically and expressly disclaim any liability, loss, or risk, personal or otherwise, which is incurred as a consequence, directly or indirectly resulting from the information and opinions expressed by individuals appearing in Broken Social Contracts.

 

PALESTINE: VIDEO + PHOTO ESSAY—Third Intifadah

East Jerusalem still on edge as 14-month-old baby asphyxiated by Israeli tear gas

by ADAM HOROWITZ on SEPTEMBER 24, 2010 · 5 COMMENTS


The news from East Jerusalem has only grown more grim. Ma'an News and others are reporting on the death of Muhammed Abu Sneneh, a 14-month-old boy who suffocated to death from Israeli tear gas used in the East Jerusalem neighborhood Al-Isawiya. Ma'an reports:

A Palestinian toddler was reported dead late Friday after Israeli forces fired tear gas amid clashes in a Palestinian neighborhood in East Jerusalem.

Medics said 14-month-old Muhammed Abu Sneneh suffocated after the gas was fired at residents and their houses in Al-Isawiya.

Israeli police spokesman Mickey Rosenfeld said he had not received any reports of injuries and that police were using minimum force to respond to incidents in Al-Isawiya, Silwan and Ras Al-Amoud.

Clashes in the occupied city have been ongoing since Wednesday, when a settler security guard shot dead two Palestinians in Silwan.

This is an unfolding story and twitter seems to be the best way to get up-to-date news. Joseph Dana (@ibnezra) has been on the scene and sending tweets. Below is his twitter feed. It should update as he sends more news.

>via: http://mondoweiss.net/2010/09/east-jerusalem-still-on-edge-as-14-month-old-ba...

_________________________________

Sheikh Jarrah Solidarity > http://www.en.justjlm.org/226#

Jerusalem Syndrome \ by Daniel

You never know what kind of a day you’ve woken up to in this city. Will it be a lazy and serene day, the first day of a vacation that I’ve waited so long for, or a day where the entire city turns into a Kafkaesque story. But perhaps it’s not the city – but the people who live here. So here’s the story: it’s about murder; the police; detainees; missing people; hate; lies and loads of stupidity and folly. In short a typical day in East Jerusalem.

1. The Murder: At around 4 AM one of the settlers’ private security guards opened fire in the direction of some residents in Silwan. At least one man was killed by the shots. 32 year old Samer Sarhan, a father of five. These are all the facts that are certain. According to the security guard he was pelted with stones and his life was in danger. According to Silwan residents Samer was on his way from his home to work and the guard prevented him from continuing, during the ensuing argument the guard took out his pistol and fired.

2. The backdrop: The Jewish settlers in Silwan have a set up a private armed militia for themselves, and we all foot the bill. 65 million New Israeli Shekels ($17.5 Million) are paid out every year by the Israeli Ministry of Housing to guard a couple of hundred Jewish settlers in the middle of Palestinian neighbourhoods in East Jerusalem. The guards are regularly briefed by the settlers, and very often are hired by the heads of the right-wing organizations. The guards are armed only with live ammunition. This is how an armed militia that is operated by the settlers came to be.

These militiamen have opened with live fire at least seven times in the last three months. And those are just the occurrences that I am aware of, apparently there have been many more. This time it ended in disaster.

3. Silencing: From the moment that the murder took place the Jerusalem Police started a comprehensive operation to silence the matter. Large police forces surrounded the event site and prevented people from getting near. When it became known that a man was shot in Silwan, the police spokesperson stated that it was the result of a dispute between clans. This announcement was made hours after police forces were at the site and had already questioned the security guard. The pinnacle of the event for me was that the police reporters that I talked to continued to assert during the course of the morning that this was a case of a dispute between rival clans, despite the fact that the guard reconstructed the event before our eyes. They sucked up their information directly from the police spokesperson.

4. Missing people: Up until now, 18 hours after the event, nobody knows exactly how many people were injured by the shooting. Early rumours contended that there was another casualty, and 18 year-old youth who was in the area. Jerusalem hospitals, the Institute for Forensic Medicine in Abu Kabir and the Israeli Magen David Adom refused to provide any information whatsoever regarding those injured or killed during the event, and what their condition was. Even the information that Samer was killed was given to his family only many hours later. According to reporters a blanket silence such as this, where no one is willing to provide information, many hours after the event, was exceptional to say the least. Although we’ve already seen situations where hospitals and Magen David Adom have been threatened by the Israeli security forces and prefer not to become embroiled, however, in general, after a couple of hours the information becomes public. Not in this case. (As opposed to the conspicuous prominence of hordes of Israeli hospital directors who are interviewed after every Palestinian terrorist attack).

5. Arrest warrants against Israeli left-wing activists: How do you get rid of a left-wing activist who’s in the area? For this too the police have a creative solution. A “Solidarity Sheik Jarrah” activist was arrested in Silwan this morning and was taken in for a police interview about an event that had taken place on April 30ththis year. Their timing is a bit curious, the activist was apparently to close to the crime scene at the time that the security guard was reconstructing the murder.

6. Meanwhile in Sheik Jarrah…: 60 “Solidarity” activists and Palestinian residents decided despite the events to build a sukkah in the neighbourhood, next to one of the residents’ house. The sukkah which was planned as part of the joint celebration of Sukkot (The Jewish Festival of Booths) was also meant to serve as a mourners’ tent regarding the murder in Silwan. Three building inspectors from the Jerusalem Municipality (who apparently remembered that they are supposed to provide services to East Jerusalem) turned up accompanied by dozens of police and demolished the sukkah time after time. Somehow they overlooked two giant sukkahs that the Jewish settlers had built in the neighbourhood, not to mention hundreds in the public domain throughout the city. And so, the peace sukkah in Sheikh Jarrah became the only one to be destroyed during the holiday.

7. Kafkaesque arrests: 2 women activists were arrested during the course of the inspectors’ courageous assault on the sukkah. Here too the police achieved a new record for creativity. The arresting police officer decided to arrest one of the activists since the Jewish settlers might assault her in the future. And so the activist was brought into the police station in order to ensure her safety. The brave soldier Schweik would certainly be jealous of such a plot twist.

8. From the media: “Dozens of left-wing activists attempted to approach the Tomb of Simon the Righteous in the area where Jews reside in Sheik Jarrah, the police prevented them and detained one activist for interrogation regarding the breach of public peace and assault against a police officer”. This is the wording of the police announcement regarding the events in Sheik Jarrah, which the media hurried to parrot. This was definitely a comprehensive report regarding an event in which activists constructed a sukkah next to a Palestinian home, and the police destroyed it time after time. It’s interesting to note that the Police doesn’t believe its own announcements: the proof being that neither of the activists arrested was accused of assault.

9. At the end of the day: It’s now evening in Jerusalem. The festival of lies, distortions and fictions has run its course. Apparently, only to resume again tomorrow. Tomorrow will bring a new dawn, in which each of us will have to choose between being a captive of the “Jerusalem Syndrome” or to see one’ self as part of the hard reality, to which the city awakes every morning.

Good night.

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Samir Sarhan on Posters in Silwan. Photo by Joseph Dana.

Samir Sarhan on posters in Silwan. (photo: Joseph Dana/+972 Magazine)

Protests erupted in the occupied East Jerusalem neighborhood of Silwan today after a guard at an Israeli settlement opened fire at Palestinian residents, killing at least one. This is my photo essay from the scene of the revolt.

Israeli Border Policeman After Firing Tear Gas in Silwan. Photo by Joseph Dana.

Israeli border policeman after firing tear gas in Silwan.(photo: Joseph Dana/+972 Magazine)

A Palestinian Pleads with an Israeli Border Policeman to Stop Firing Tear Gas in Silwan. Photo by Joseph Dana.

A Palestinian pleads with an Israeli border policeman to stop firing tear gas in Silwan. (photo: Joseph Dana/+972 Magazine)

Pain on the Face of a Palestinian Woman in Silwan. Photo by Joseph Dana

Pain on the face of a Palestinian woman in Silwan. (photo: Joseph Dana/+972 Magazine)

Pain and Anger on the face of a Palestinian in Silwan in Conversation with an Israeli Border Policeman. Photo by Joseph Dana

Pain and anger on the face of a Palestinian in Silwan in confrontation with an Israeli border policeman. (photo: Joseph Dana/+972 Magazine)

Palestinians Riot Near the Old City of Jerusalem. Photo by Joseph Dana

Palestinians riot near the Old City of Jerusalem. (photo: Joseph Dana/+972 Magazine)

Samir Sarhan's funeral in Silwan. Photo by Joseph Dana.

Samir Sarhan's funeral in Silwan. (photo: Joseph Dana/+972 Magazine)

Pain. Photo by Joseph Dana

Pain. (photo: Joseph Dana/+972 Magazine)

 

 

 

Joseph Dana is a writer and filmmaker living in Jerusalem. He has two Master’s degrees in Jewish History, one from the Hebrew University of Jerusalem and one from the Central European University in Budapest. Dana's work focuses on the Palestinian unarmed resistence movements throughout the West Bank and the impact of Israel's occupation on Palestinian life. Dana is active in Israeli direct action groups such as Taayush and the Anarchists Against the Wall.

>via: http://972mag.com/photo-essay-from-silwan-palestinians-take-to-jerusalem-afte...

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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VIDEO: Watch “This Time” (Short Shouts) > Shadow And Act

Watch “This Time” (Short Shouts)

Picture 7

Today’s short shout is a film titled This Time, written by Reagan Gomez-Preston and directed by Matthew A. Cherry.

It stars some names you’ll recognize like Reagan Gomez, and Terri J. Vaughn. Sinorice and Michael Moss also co-star.

The short is an official selection of a number of film festivals including, Boston international Film Festival, San Fransisco Black Film Festival, Martha’s Vineyard African American Film Festival, Roxbury International Film Festival, Miami Short Film Festival, and others.

The film was made in collaboration with Our Fallen Soldier, a 501c3 organization that honors the men and women who died in service of this country. Visit http://www.ourfallensoldier.com to make a donation.

Watch the short and leave your constructive comments below (the director says he’ll retweet all feedback on the short today good or bad ;) ):