Zarina Zabrisky's "IRON"

     Having read other reviews of Zarina Zabrisky's IRON (copyright 2012 Epic Rites Press), a quartet of short stories, I was struck by the widespread admiration her literary peers expressed for her work. Words like, “unforgettable,” “dangerous,” and “brutal,” were most often quoted. This is not surprising: according to Zabrisky's biography, her formative years were spent in post-Soviet Russia. But, one thing is clear, and, I have to agree: Zabrisky has hit the ground running with a strong literary debut that furthers the great tradition of Russian literature into the 21^st century.

     Iron is comprised of four stories; two mini-novellas, one short story, and one piece of flash fiction that drop the reader into a Russia, that, like its citizens, attempts to find a balance between its Communist past and its hedonist, capitalistic present. “Weeping Poppies,” begins with three young junkies in transit, simultaneously stealing poppies to facilitate their heroin addiction while evading any presence of authority. “The Cross of David,” opens with two women having lunch in an upscale restaurant as one attempts to convince another to assist in an internet retail scheme. “The Hungry Duck,” starts with an ultimatum given to the story's protagonist, in regards to the drunken, violent actions of her sibling. Lastly, the title piece,“Iron,” launches the reader into the mind of an almost bride-to-be as she, and her younger sister are unknowingly kidnapped by a group of young Georgian youths.

     The four protagonists in Zabrisky's stories have several things in common; they are intelligent, vulnerable, and brutally honest with themselves. The growth of Zabrinsky's women is internal, as well as exquisitely painful; they hold nothing back, which does not render them likable, but, imminently believable, as in the story, “The Cross of David,” where,the narrator, after being verbally nagged by her friend Peggy to assist in the sale of cross pendants, starts to reveal the truth of her refusal:

     I once wore a cross. For five years I wore a cheap brass cross. I could still remember the blue silk thread cutting into the back of my neck. I remembered the acidic smell of the brass. The Russian Orthodox cross—a sticklike figurine spread-eagled on the petal-like bars. A dead mosquito in a daisy. I believed it would save me, somehow. I believed in the suffering and its saving powers.

     I won't take this any further, suffice it to say that the endings to all four of Zabrisky's stories in IRON are unexpected. As for Zabrisky's narrative style; it's not pretty, elegant, or even classically feminine, and those are its best qualities. These are stories about REAL people, REAL women that one can instantaneously identify with... and, they'll get right up into your cerebellum and STAY THERE! This is what makes IRON such a stellar book! Buy a copy of IRON, read it, think about it, and read it again.

     IRON, Zarina Zabrisky, copyright 2012 Epic Rites Press, ISBN 978-1-926860-13-8, 84 pages, $13.50

Article content © 2013 Marie Lecrivain

Weird, But, Perfect: Novel Writing by Internet Committee, an essay by Eric Lawson

Note: This is the first in a series of guest bloggers for Al-Khemia Poetica. Eric Lawson (who resides in Los Angeles), is a writer, comedian, poet, and is the author of several books of poetry and fiction, including his most recent collection, Snarky Haiku, (copyright 2013, Infinity Limited Press) which you can pick up for the very reasonable price of 2.99 at Amazon.com. You can keep up with Eric's literary happenings at his blog, or join his Facebook page.

Let me just start by saying that I’ve written all kinds of crazy things. Poetry, songs, comedy sketches, plays, short stories, screenplays, and every kind of inane filler material you can imagine. But nothing in my experience has a stronger impact or provides more immediate feedback than the Internet.

An independent artist can brand and market themselves using little more than Facebook, Twitter, YouTube, and Blogspot or Wordpress. Uploading to Amazon has never been easier.

Still some people, myself included, felt a little lost a few years ago when it looked like Mighty Mother Internet was going to make paper books obsolete. Will paper books go the way of the dodo like CDs, and soon, DVDs? I don’t think so. Not completely. People will always treasure books. Giving or receiving a book is still a big deal to me.

Because I’m the kind of guy who likes to take on way too much at once, I thought why not write a novel? No small venture, that. I had tried a few times over the years but things always seemed to fizzle out quickly. At one point, I even considered calling a rough draft False Start for shits and grins.

Then, in the spring of 2010, I came across www.textnovel.com. More false starts followed. Time passed, and I moved on to other projects, but I kept coming back to the site. I loved how each story had a view count, a story link that moves to the top of the home page with each update, and most of all, the instant and supportive feedback from the other authors and fans of the site and fresh writing in general. This wasn’t like Facebook, with people “liking,” pictures of cats in stupid outfits being tortured by their swarthy children on unending sugar highs. Here was a site with published authors and professional editors weighing in on what you have just posted. Sometimes right away. I liked that a hell of a lot.

I finally figured that what I needed to do was get back into writing short stories again. I uploaded a few of them to textnovel and the response was nearly instantaneous. Not only were people I didn’t know gushing over the stories, but they were providing informed and supportive feedback with each section of every new story that I posted. For every “Your spelling and grammar makes me want to kill my laptop with my wife’s laptop, Lawson,” there were four or five “I like where this is going. This is publishable. Right now!” I knew that when more and more of that kind of feedback started flowing in that I was on to something.

I decided to move on from writing short stories to novel chapters. I dusted off my notes on a novel outline called The Road to Ruin and got to work. I think of it as novel writing by internet committee. I know how the story ends. But it has been so freaking cool to have people weigh in as its being written. I’ve never tried anything like this before. In a way, it’s weird. I mean, it’s my novel. But in my mind, it’s the perfect writing environment. How could you not like having your own personal cheering squad that you never have to see, feed, or bribe?

For example, one woman didn’t think a secondary character was getting his due. I thought about it a lot. I ate a burrito bigger than my head and I thought about it some more. I doodled with an idea and it worked! The story needed more emotional oomph at that particular moment as it was. I’m of the belief that the most interesting characters are the ones with several faults. Having side characters with issues that directly affect the main character help create drama to drive the story (duh). What was brilliant about this suggestion was that it didn’t change the overall plot or what had to happen in that particular chapter at all. It just helped flesh out a side character. Greatly.

On the other hand, all the detailed suggestions aren’t valid. One gent put it to me that not everyone in real life is as funny or as quick as I make my characters out to be. On a lark, I tried taking out some of the zany one-liners and physical humor. It just didn’t work. It didn’t feel right or real enough. I thought back to my touring stage manager days and all of the acting gigs I’ve had. Without much instigation, I seem to be drawn to people with a decent sense of humor and those are the people and situations that I not only recall well but cherish. So, sorry Not-Everyone-Is-Funny-Dude, but you’re wrong. Even people without sharp comic timing enjoy a good laugh and try to be silly as often as possible.

Is novel writing for everyone? Probably not. I have to keep reminding myself that this thing is a marathon and not a sprint. So many ideas and…well, I have forever to finish it. But I have to say that this has been one of the most rewarding and fun experiences as a writer that I’ve had in the last few years. I truly feel like I’m on to something. Textnovel seems to thinks so, too. My story was made an Editor’s Choice for January, 2013 for promising novel in progress. I’ll let you judge for yourself. www.textnovel.com/story/The-Road-to-Ruin/4674/ Take a gander and let me know what you think. In fact, why don’t you post a story, too? After all, we’re in this thing together.

© 2013 Eric Lawson

Afric McGlinchey's The lucky star of hidden things

     Afric McGlinchey's debut collection, The lucky star of hidden things (copyright 2012 Salmon Poetry), is an unusual literary gem. lucky star is not a book to be read in one sitting. I can attest to this fact; lucky star contains poetry that is spare and lovely, yet, I found myself treating her work with reverence. The world McGlinchey offers the reader is dark, mysterious, and all-together accessible... however, if one is willing to revisit the sacred spaces McGlinchey has created, the reader, in this case, myself, finds the landscape deliciously altered – for the better.

     In the interview below, McGlinchey discusses her poetry collection, as well as other current literary matters. I would like to thank Afric McGlinchey for her patience, artistry, and honesty. I look forward to reading more of her work – with pleasure – in the future.

                                                    

   A-KP: Please explain the inception of The lucky star of hidden things.

   AM: Chance really had a hand in it. I won a prestigious award in Ireland, and soon afterward, Salmon offered to publish my collection.

    As I have lived in a number of countries, a strong impulse all my life has been trying to find a way to belong to wherever I am. Usually, however, as is the case with many writers and creative people, I have felt an outsider, and feel that I am often more of a witness than a participant. So I decided to make that the focus of my collection.

   As for the title, that came about by chance. Someone mentioned that they found my imagery very ‘celestial’ so I looked up stars, and discovered Sadalachbia, the nomadic star, which translates into English as The lucky star of hidden things, so I thought it fitted perfectly, as I sometimes use private coded symbols when writing about difficult subjects.

  A-KP: What part of your life influenced your poetry more, and why: your Irish heritage, or, your time in Africa?

  AM: Interestingly, I only began writing seriously when I returned to Ireland in 1999, when I discovered the Munster Literature Centre and started attending workshops. This is where I am creatively stimulated, where I read, and study the craft. But my image base is strongly influenced by my years in Africa (Zambia, Zimbabwe, South Africa, and time spent in Malawi, Mozambique, Namibia and the Transkei too). I also return regularly, as my father still lives there, and my daughter, who was born there, has returned to live there too.

So, both influence my writing.

   A-KP: Your poetry is quite arresting – cinematically - and, the language is immediately accessible, which gives your work broad appeal. Given your academic background and training, how do you feel about the idea of poetry being available for mass consumption? 

   AM:Interesting question. In his essay, ‘In praise of difficult poetry,’ Robert Pinsky argues for ‘difficulty’ as opposed to poems that are too easily understood, and I agree. It is infinitely more satisfying to read a piece of writing that offers itself up more slowly, where the reader is rewarded for his or her closer attention. Then again, there is a level of difficulty which can be alienating, where the writer, rather than communicating, is simply building walls. While accessible poetry can be dismissed by the academics, everyone gets offended by insular arrogance, although not everyone is brave enough to admit it. It’s a fine line. But I’d rather err on the side of clarity than perverse obfuscation – the act of writing is intended to communicate, after all. For my first collection, I felt the need for a narrative thread to run through the poems. Although, as you say, most are ‘accessible’, I wouldn’t say they are equally so. Ideally, I’d like my poems to communicate on a number of levels, and be open to more than one interpretation.

     A-KP: The Tokoloshe sequence (Late, Exorcism, Curse), a three-part narrative of an exorcism, is profoundly disturbing. I felt, while reading Tokoloshe, that this was a very brave piece to write, not in a confessional way, but, in a 'bring the fear out into the daylight so people can see it's for real' way. Was this based on real events, and, if so, what inspired you to write it?

  AM: Yes, the three poems were all based on true events, although the only factor linking them really is the spectre of the tokoloshe. They took place at different times. I lived on a farm where fear of the tokoloshe was a very real thing. I know of a perfectly healthy person who simply lay down and died after being cursed. The poem Curse refers to the time of land invasions, when a curse was put on us, in an attempt to scare us away; but we don’t believe in the tokoloshe, so it didn’t have power over us, although for the purposes of the poem I altered that detail slightly. 

The ‘Exorcism’ experience was amazing. We hired a n’anga (witchdoctor) to do the exorcism on our farm, as all our workers were convinced they had been cursed. So he did his ritual, with everyone watching, and just as it says in the poem, at one point, everyone screamed and ran. When I asked them later what had happened, they said, ‘but didn’t you see? Small men, knee-high, running out of all the rondavels!’ So the exorcism did the trick.

‘Late’ describes a tragic event, one that I’ll never forget. I find that I need to write about events that have affected me emotionally.

     A-KP: The current trend of modern poets is to employ the device of 'travels through life, both internally and externally', but none as distinctively as yours. Would you agree/disagree, and why?

    AM: I think a number of poets use this device as you say – I wouldn’t have thought my method was particularly ‘distinctive’. Perhaps you are referring to the clarity of my approach – the use of sections to allow for differing themes along the journey to date: my African life (In my dreams I travel home to Africa); returning to Ireland and taking on new challenges, as a mother, an individual, and, as a writer (The road); some witness poems (What we saw), and learning to trust again, after a long relationship had ended (Leaning into your world). My life has been more of a physical, literal journey than usual, so it was easier to chart the collection this way, and perhaps that’s what you mean by distinctive? Although I have seen divisions into sections used elsewhere, for example in Sujata Bhatt’s Pure Lizard, JohnFitzgerald’s The Mind, Jane Kenyon’s Constance, Harry Clifton’s The Winter Sleep of Captain Lemass, or Grace Wells’ début, When God has been Called away to Greater Things, to name a few.

     A-KP: There is an undercurrent of vulnerability that runs through your work, particularly in the poems “Totems,” “Invasion,” and “Wolf House.” Do you feel that it's necessary for a poet, in keeping with her work, to maintain, as well as cultivate, a constant state of openness? Why/why not?

   AM: I don’t feel it’s necessary to be open; it’s probably a matter of temperament. Some poets are open, others are more reserved. In some instances, it might be harmful to be too open. But when combined with a cool editorial eye, poetry that allows itself to reveal vulnerability, can be very effective.

   A-KP: What kind of feedback are you receiving from your poetry colleagues with regard to The lucky star of hidden things?

   AM: They’ve been pretty positive, on the whole. Certainly, they’ve been supportive. The book’s only been out since summer, but already it’s on its second reprint. My work has been described by reviewers as melodic, sensory, exotic, scattered with interesting non-Anglo language and imagery, and immersed in the flux of life.

     A-KP: I notice that many publishers are not yet offering poetry collections in e-book format, though I know that Salmon Poetry has an e-book category on the homepage of their website. How do you think the transition from physical books to virtual books will affect literature, particularly poetry, in the next five to ten years?

     AM: Salmon are good at spotting trends, and staying abreast of the market, and no doubt most books will end up as e-books too. But Salmon have also just opened a bookshop, so they obviously trust that there’s going to continue to be a market for the physical product. And as a book-lover, I agree. There’s something about turning the pages, the physicality and aesthetics of the thing, even the smell, that e-books just can’t compete with. There’s something intimate about a book. When I’m asked to review e-books, I always refuse, and say I need to read the hard copy – and then they send it to me. I’ve resisted getting a kindle so far – maybe that’s a little more tactile, and includes the sound effects of turning a page…I don’t know. But I’m hoping there are more people like me, who will ensure that physical books don’t vanish altogether. And you can’t sign an e-book!

     A-KP: What is one piece of advice you would share with a poet who is getting ready to put together a début collection of work?

    AM: Be able to stand over the integrity of every single poem.

     A-KP: Now that you have “arrived,” with your début collection, what are your future literary plans?

     AM: Well, while the début collection is the most exciting one of any poet’s career, the second is probably the most challenging! I’ve already been given a date for the next one, but plan to wait until I’m really ready. This time, I’ll work to a specific theme, and try out different voices and forms, I think. But so far, I’m simply writing the poems that are arriving, and am going to allow the theme to emerge organically.

Note: If you would like more information on Afric McGlinchey, you can visit her website: http://www.africmcglinchey.com/

The lucky star of hidden things, Afric McGlinchey, copyright , 2012 Salmon Poetry, salmonpoetry.com, ISBN 978-1-908836-083, 83 pages, $17.90 (USD).

Author photo and book cover photo © 2012 Afric McGlinchey and Salmon Poetry

Article content © 2012 Marie Lecrivain

In Time for Halloween: Denise Dumars's "Paranormal Romance"

    

     In time for Halloween/Dia de los Muertos, readers can find all sorts of spooky poetry, or, for the more discerning reader, there is Denise Dumars's Paranormal Romance: Poems Romancing the Paranormal (copyright 2012 Sam's Dot Publishing).

     Paranormal Romance approaches the spirit world without fear, trepidation or hubris, telling tales (sometimes cautionary), of the “thinning of the veil,” between the living and the dead with a strong narrative, and a well-honed sense of humor. There are Egyptian gods taking a vacation (“Djehuti in Las Vegas”); a paen to ectoplasmic motorcycle riders (“Ghost Riders”; and, instructions on the proper way to honor 19^th century Voudoo Queen Marie Leveau (“Mam'zelle”). There are also a series of “what if” scenarios, where Dumars imagines what it would be like to exist in more than one universe - with unforeseen consequences - (“Parallel World''); and, the colors, as well as the communication spectrum of ghosts (“Home”).

     The reverence with which Dumars approaches those who have shuffled off this mortal coil is apparent in all her poetry. The dead are not “dead,” in anything other than a corporeal sense; Dumars's awareness of both past and present coexisting/overlapping rend the veil as she explores the positive advantages of leisure activities with the spirits ('Wasting Time"), a capricious game of hide-and-seek with a ghost (“Victorian Fantasy”), and, the all-pervading current that comes through with the commingling of both worlds in the city of New Orleans, as in the poem “Magic”:

And we knew the first time we visited:

Vodou veves in the gang graffiti ,

Guys dressed like Baron Samadi riding bicycles

near the statue of Jefferson Davis,

the ghost of your long-lost love

walking down a street in the Bywater

at dusk.

     We live in a society obsessed with not only staying young, but, also, a society that increasingly views the unseen world as a curiosity to be made fun of/debunked on B-minus reality programs. Sadly, honoring the dead, and acknowledging death as a vital part of our existence are highly discouraged. Dumars's Paranormal Romance gives the reader permission to break these taboos, and to gain back the truth; death is a part of life, and life goes on after we cease to breathe.

     Author Bio: Denise Dumars is a widely published author of poetry, short fiction, articles, essays, and reviews. She has had a variety of occupations, including library technician, film journalist, technical editor, literary agent, and college instructor. She lives in the beautiful South Bay area of Los Angeles County, but her heart is in New Orleans.

Paranormal Romance: Poems Romancing the Paranormal, copyright 2012 Denise Dumars, Sam's Dot Publishing, 978-0-9828975-4-6, 122 pages, $10.00.

Poem “Magic,” © 2012 Denise Dumars

Article Content © 2012 Marie Lecrivain

Alternate Lanes debuts at the West Hollywood Book Festival!

Mr. Lawrence of Rabbia, a rider of the Expo Line, poses pretty with a stack of Alternate Lanes.

     This past Sunday (9/30/12), Sybaritic Press vended at the West Hollywood Book Festival. Despite the triple digits, Carmegeddon 2, and the L.A. Triathalon, which cut down on the attendance, we managed to sell off 93% of our print run of Alternate Lanes (copyright 2012 Sybaritic Press), meet some great people, and reconnect with friends.:) As a personal bonus, I found some new poetry books to review from What Books Press, and Le Figues Press, as well as a near-pristine copy autographed copy of Buddhism and Psychology by Manly P. Hall.

                               

 Alternate Lanes writers Jerry (grateful, not dead) Garcia, and Tess. Lotta. 

Special thanks to the following: Sigrid Hudson Bishop (for her patience, most of all!), Angel Uriel Perales, Anthony Torchia, B.C. Petrakos, Rina Rose, Lynne Bronstein, Deborah Edler Brown, Jim Bolt, Julia Stein, Tess. Lotta, Jerry Garcia, Sunshine Lliteras (The pretty girl with the umbrella and Mr. Lawrence of Rabbia), Phil Macnamara, and, every new customer who purchased a book, and braved the heat to support literacy.

Sunshine Lliteras and Mr. L. are ready for their close-up!

     Check back here for a schedule of readings for Alternate Lanes. And, don't forget, we have both a trade paperback version, and, an ebook version available for purchase!:)

article content and photos © 2012 marie lecrivain

Now Available: "Alternate Lanes Anthology" at Amazon!

Alternate Lanes: An Anthology of Travel Using Alternate Transportation in the City of Angels (copyright 2012 Sybaritic Press) is now available for purchase through Amazon! You can purchase a trade paperback for $9.95, or you can order the Eco-friendly Kindle version for $3.99.

Thank you to all those who contributed their words, and art. We'll be at the West Hollywood Book Festival  on Sunday, Sept. 30, 2012, so, come on by to purchase a copy, meet the authors, or, just say, hi. Note: Pan Pacific Park is easily accessible by the MTA bus, so, save yourself some money on gas, and, help the environment at the same time.:)

List of contributors in Alternate Lanes:

L.Ward Abel

E. Amato

Michelle Angelini (aka Rina Rose)

Jim Bolt

Lynne Bronstein

Deborah Edler Brown

Gully Burns

Charles Claymore

J. de Salvo

Meg Elison

Jerry Garcia

Sandra Hunter

Alex S. Johnson

Scott Kaestner

Deborah P. Kolodji

Eric Lawson

Tess. Lotta

Gregory Longenecker

Tamara Madison

Matt McGee

Brenda Petrakos

Rick Lupert

Daniel McGinn

Scott Nichols-Collier

Apryl Skies

Julia Stein

Anthony Torchia

Mary Torregosa

D.L. Warner

Florence Weinberger

Hilda Weiss

article content  © 2012 marie lecrivain

Words Cast Upon the Water: the Trouble With Simultaneous Submissions

(Original article previously published in Magnapoets, Issue 2, July 2008,

minor updates/changes have been added to reflect recent events.)

One morning as I opened my email, I noticed one marked "regarding submissions from 1/12/08," from a poet whose name I will not reveal. He notified me that one of his poems had been accepted elsewhere for publication, stated I that had his permission to publish the others, and hoped, if I liked his work, I would re-publish it and the other poems in an upcoming issue. After re-reading his submission, I congratulated him and told him, "No thank you."

For the record, I applaud the poet's honesty in admitting that his work had been simultaneously submitted (he stated so in his first email). However, this poet's work, while technically sound, did not resonate with me, which is, ultimately, why I turned him down.

As a writer/ editor, I find myself walking a precarious tightrope on the subject of simultaneous submissions. In publishing, this is a conundrum that has plagued me for years. Within this essay, I will explore the matter based on my own and other others experiences to shed some much needed light on the matter: why poets/writers brazenly - or not so - simultaneously submit work to the "quickest" bidder.

According to an article I discovered in the online magazine Ink and Blood, Norman Mailer was the first to pioneer simultaneous submissions, utilizing the natural frustration and subversion that go hand in hand with a writer's persona to send out manuscripts en masse to publishers. If I ever had the chance to meet Mailer (alas, he's since shuffled off this mortal coil), I'm not sure if I would've shaken his hand, or kicked his ass, in that order. (Note: with manuscripts, simultaneous submissions are another story for another time).

I'm not a prolific writer, though many people would disagree with me. In my opinion, it's vital to me that my work is read by as many people as possible. Yet, I want the "life" of my prose and poetry to last. This means, in accordance with my literary ethics, to refrain from sending the out same five poems to ten different literary journals, which, according to aspiring novelist and Subtle Tea editor David Herrle, is "like a guy 'poking' several women to raise the chance of impregnation."

As the editor of poeticdiversity: the litzine of Los Angeles, I no longer accept simultaneous submissions, In doing so, I find that many poets/writers choose to believe I'm being disingenuous when the rules of my publication clearly state:

7) Previously published work will be considered for publication, but with the following caveat; please cite where the work was published for the former, and contact us if your submission was accepted elsewhere for the latter. This will not bar submissions from getting published in poeticdiversity, it's just that every publication has its own rules and we don't want to step on anyone's toes. Simultaneous submissions will not be considered. And yes, we do check!

More often than not, these same submitters assuage their conscious with the fleeting validity of publication rather than risk the opportunity to be honest in return. Before I made my decision to stop accepting simultaneous submissions, I would do the following: perform a Google search to determine if the work had appeared elsewhere. If the work had already been published, I would request a publication date and name. Nine times out of ten, my request is ignored.

Because of this, I routinely reject work of those who are less than forthcoming. It’s not in my best interest, nor in my nature to represent the work of liars, the notable exception being, in quite a few cases, the poet/writer in question who accidentally omits the mention of previous publication. This is an honest mistake, and one that I made on occasion. Poets/writers who generate a body of work that spans a few years can easily fall prey to forgetfulness, as poet and Magnapoets executive editor Aurora Antonovic states, with unforeseen consequences:

"While there are honest mistakes (sometimes poets forget to where they've submitted what, or editors reject a poem only later to publish it, and the unsuspecting poet has already sent it off elsewhere), anyone who knowingly does this is engaging in unethical behavior. If poets (or anyone for that matter) want to be taken more seriously, they have to begin by behaving responsibly.

I've never knowingly simultaneously submitted somewhere, but I have made mistakes with records or an editor has made mistakes. Human error is one thing, but deliberate misleading of submissions records is serious enough, in my book, that repeat offenders ought to be no longer considered for publication. After all, no serious publication wants to get into copyright trouble."

I have yet to hear of a small press publication/literary journal suing another for violating the "exclusive" or more specific (though it reeks of nationalism), "first time North American serial rights" rule, and Antonovic raises an excellent point: The frustration writers and poets are exposed to, caused by editors who are not timely or courteous enough with responses, which compels them to simultaneously submit. Time lags have inspired Richard Beban, ex-pat, poet, and author of What the Heart Weighs (Red Hen Press 2004) and Young Girl Eating A Bird (2006 Red Hen Press), to take a hard line with journals, and to seek alternate and more selective means of publication:

"Since I began work as a poet in 1994, I don't bother sending to any publication that wants:

1.) exclusive rights, and

            2.) simultaneously claims a response time of six months or beyond.

I think six weeks is reasonable, no matter how "understaffed" a publication claims to be. Part of staffing should include the commitment to give writers enough respect that you don't hold their work for inordinate amounts of time. Writers like to see their work in print, yes, and particularly within their lifetimes. I also query about the work after six weeks, unless the specified response time is longer.  I even bug The New Yorker, which apparently has NO specified response time, judging from the black hole my poems go into when I send there.  I give them (the publication) three months in any case, and then gleefully simultaneously submit elsewhere."

Not everyone is as organized or as adamant as Beban. In my opinion, his approach is straightforward, and somewhat fair - because he has clearly established guidelines. Many newer poets/writers, legitimately bound by time constraints, don't have the time to research ALL the publications that they wish to submit work to, as one anonymous writer/editor/poet shared with me:

"I do send out to about five different publications at a time when I submit sets of poems. I do that with publications who say they accept simultaneous submissions, because they agree to take that risk. And writers take risks; too, when we send work out to journals because it's more likely than not that we're rejected. Of course, odds of acceptance depend a lot on the match between quality of work and quality of publication, but if we only submitted serially we'd be hard-pressed to have any kind of publication credits at the end of the year. At the end of the day, getting published is either important to you, or it's not. And if it is, you want to be smart about it and increase your odds by increasing your submission sights.

Groups like Writer's Relief make their living getting people published by doing that very thing: targeting about 30 publications with a single set of poems from an author. I know a handful of poets who use that service, and it does seem to work for the writer. I'm sure it's hard on editors when work is pulled at the last minute which is why a lot of them don't accept simultaneous submissions."

While the writer quoted above is acting responsibly by employing an intermediary like a writing/publishing resource to act on his/her behalf, there are many more poets/writers who are not, either because they are new to the submission process, and become overwhelmed by the plethora of submission rules, or because they experience frustration caused by the increasingly iconoclast rule of "exclusive rights," which has caused a potential pandemic of dishonesty between poets/writers and editors. As the rift widens, not only does the relationship between the poet/writer and the editor disintegrate, but the standard of a publication can become compromised, as John Amen, poet and editor of The Pedestal Magazine, maintains:

"Pedestal does ask for firsttime rights; i.e., we don't (re)publish previously published material; we do accept simultaneous submissions and ask that folks let us know if/when work is accepted elsewhere. This policy doesn't seem to be creating too many problems, although we've had a couple of situations that led us to consider changing the policy. Personally, I've never been into simultaneous submitting. I don't know why, it just doesn't appeal to me.

Now, there's another thing that goes on from time to time: someone wanting to publish a particular piece in various publications at the same time. It's not a question of whoever says "yes" first gets the piece; it's that the writer wants everyone/all the editors to publish the piece. As we ask for first rights and don't republish material, this clearly doesn't work for us. But more importantly, I think this practice does a disservice to the literary landscape. It fosters homogeneity and compromises the uniqueness of a particular publication."

I'm in accordance with Amen - and - I firmly believe that homogenizing one's art is the ultimate form of self-sabotage. I base my opinion on personal experience and a hard-won work ethic. Which is more important: elusive popularity coupled with the fleeting validation I receive every time my name gets into print, or the TRUTH that exists in my words? This is the question I ask myself as a writer when I submit work for consideration of publication, and, as an editor to whom work is submitted to on a weekly basis. I strive to respect myself and others in this capacity, and I believe that honesty is the key to bridging the chasm between poets/writers and editors.

This responsibility rests with the poets/writers. After six years, I have found that it IS possible to build a CV of publication credits without casting out my poetry and prose like the proverbial bread upon the waters. The following guidelines may help:

1) Be clear and careful. Study a publication's guidelines. Follow them to the letter. If a rule is unclear, take the initiative and contact the publisher.

2) As Beban illustrates, construct clearly established parameters regarding submissions. One suggestion: Unless the publication in question takes submissions on a rolling basis, consider your submission to be defunct if you have not heard from the editor by the publication date, and then take it somewhere else. Or, if the publication gives permission to contact them after a specific time, do so. You and your work deserve respect.

3) A writers' resources, like Doutrope, offer over 4,300 venues for publication, along with (daily) updated listings, a submissions tracker, notification of changes to publications (defunct, dead, temporarily closed to submissions). Duotrope is free, though I would encourage those who use it donate money to its upkeep once in awhile.

4) Keep a log of your submissions; dates, titles and email correspondences. Duotrope offers a log,. Many online publications are now using Submittable's Submissions Manager program, or you can create your own in an excel spreadsheet. A lot of confusion and anger can be avoided by getting organized in this fashion.

5) Be patient. Getting published en masse does not guarantee your literary immortality. Turn off the little voice inside your head that urges you to disseminate your work like fish food in a tank full of guppies. Too much food can kill the fish!

6) You all have heard this one, and it bears repeating. Carefully PROOF your work before submitting it anywhere; that stray comma or missing period can make a difference between a "Yes," or, a "No. Thanks for playing."

7) If all else fails, publish your work on Facebook, Twitter, Blogger or Live Journal where the whole world can see it, and where you can be fawned over or condemned to your heart's content.

I fear the day is coming - , no - it may already be here, where instant gratification outweighs the desire for quality literature. Of my own volition, I do my best to stem the tide. I wish each and every one of you "good luck."

Finis

(Note: Thank you to all those who answered my questions regarding this matter, which, of course, we all know will not be resolved any time soon.)

© 2012 marie lecrivain