Litmus Press Spring Open Call & More!

Spring open call, Companion Animal wins Norma Farber First Book Award, Restless Continent release

Friends,

We’re very pleased to announce our spring open call for single-author first-book poetry manuscripts in English. We will be accepting submissions from May 1st to June 1st, 2016. Texts that engage bilingual or multilingual practice are welcome, while writers whose texts are translations from other languages into English are encouraged to send work to our open call for translations next year. Writers who are not U.S. citizens are welcome to send work. The chosen manuscript will be announced this August.

Litmus Press is dedicated to publishing innovative, cross-genre, and interdisciplinary work by poets, writers, translators, and artists. Our longstanding practice of publishing first books is integral to our mission to support the vital work of emerging writers who do not benefit from existing structures of privilege. We are especially interested in writings that acknowledge intersectionality and embrace formal and political wildness.

Follow the link for submission guidelines:
https://litmuspress.submittable.com/submit/6186.

*
Litmus Press is a program of Ether Sea Projects, Inc., a 501(c)(3) non-profit literature and arts organization.

Magdalena Zurawski wins the 2016 Norma Farber First Book Award forCompanion Animal!

Of the book, 2016 Norma Farber judge Jennifer Moxley says:
“‘Most of the day I feel things. Nobody / pays me, I just do it . . . .’ What more perfect capsule of the lyric poet’s dilemma under the spirit of capitalism? It is this dilemma that animates Magdalena Zurawski’s Companion Animal, which chronicles a redemptive, if grief-strewn, lyric journey back to poetry after an exile in prose.”
Congrats Maggie!!! Read the rest of Moxley’s remarks here.

Hot off the press!
Restless Continent
by Aja Couchois Duncan

“In Aja Couchois Duncan’s quest to re-envision a living mythology that gives body and voice to those vital presences that have long haunted the margins of Western knowledge and experience, we, too, are given a chance to reformulate and reassert our relationship to ground, to wind, to language, which Duncan shows us—through a graceful and vigilant thinking line—are all one and the same. There is an intelligence here that I’ve been missing in contemporary poetry, one that writes into a we, an I, a you, a she, a he acutely aware that these categories are constantly re-directing themselves toward the unknown and are always only ‘a fraction of.’ An extraordinary debut.” — Renee Gladman

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