Ekphrastic Writing Challenge: Barbara Danin Join us for biweekly ekphrastic writing challenges. See why so many writers are hooked on ekphrastic! We feature some of the most accomplished influential poets writing today, and we also welcome emerging or first time writers and those who simply want to experience art in a deeper way or try something creative. The prompt this time is Cadmium Sea, by Barbara Danin. Deadline is October 18, 2019. We welcome guest editor Tina Barry, who chose this artwork by Barbara Danin. Guest editor's note: I’d like to see writing that relates to Barbara Danin’s collage, Cadmium Sea, but takes me somewhere unexpected. My taste is eclectic. I appreciate a strong sense of place, vivid imagery, and rich yet well-honed language. If you want to throw a twist in somewhere, please do; humour, if it suits the writing, is always appreciated. Having said that, I’m not a fan of rhyming poems, unless the rhymes are subtle. No poems over two pages. Shorter is better, but no haikus. Keep prose to 500 words. Thanks in advance. I can’t wait to see what you come up with! Best, Tina Guest editor bio: Tina Barry is a poet, short story writer and curator. She is the author of Mall Flower (Big Table Publishing, 2016), and Beautiful Raft, prose poems and flash fiction about Virginia Haggard and Jean McNeil, the artist Marc Chagall’s lover and her daughter (Big Table Publishing, fall 2019). Several pieces in Beautiful Raft served as the backbone for “The Virginia Project” (2018-2019), a traveling exhibition created, written and curated by Tina. The collaborative exhibit featured 14 women artists who each interpreted a different piece of Tina’s writing. Tina’s work appears in numerous journals and anthologies, including Drunken Boat, Inch Magazine, Yes, Poetry, Connotation Press, The American Poetry Journal, The Best Short Fictions 2016, Nasty Women Poets: An Unapologetic Anthology of Subversive Verse, and A Constellation of Kisses. Tina is a two-time Pushcart Prize nominee and has had several Best of the Net nods. She teaches poetry and short fiction at The Poetry Barn and Gemini Ink. The Rules 1. Use this visual art prompt as a springboard for your writing. It can be a poem or short prose (fiction or nonfiction.) You can research the artwork or artist and use your discoveries to fuel your writing, or you can let the image alone provoke your imagination. 2. Write as many poems and stories as you like. Send only your best works or final draft, not everything. Please copy and paste your submission into the body of the email, even if you include an attachment such as Word or PDF. 3. Have fun. 4. USE THIS EMAIL ONLY. Send your work to ekphrasticchallenge@gmail.com. Challenge submissions sent to the other inboxes will most likely be lost as those are read in chronological order of receipt, weeks or longer behind, and are not seen at all by guest editors. They will be discarded. Sorry. 5.Include DANIN WRITING CHALLENGE in the subject line please. 6. Include your name and a brief bio. If you do not include your bio, it will not be included with your work, if accepted. Even if you have already written for The Ekphrastic Review or submitted other works and your bio is "on file" you must include it in your challenge submission. Do not send it after acceptance or later; it will not be added to your poem. Guest editors may not be familiar with your bio or have access to archives. We are sorry about these technicalities, but have found that following up, requesting, adding, and changing later takes too much time and is very confusing. 7. Late submissions will be discarded. Sorry. 8. Deadline is midnight, October 18, 2019. 9. Please do not send revisions, corrections, or changes to your poetry or your biography after the fact. If it's not ready yet, hang on to it until it is. 10. Selected submissions will be published together, with the prompt, one week after the deadline. 11. Rinse and repeat with upcoming ekphrastic writing challenges!
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the things they didn’t teach in history class they call you the indian frida kahlo & how did i go eighteen years without knowing about a woman like you i stare at the canvas not a mirror but a wish brown skin girl of nineteen with thick eyebrows queerly peering at brown skin girl of nineteen with thick eyebrows immortalized with deep brown irises & you’re caught in my vision’s reflection all i could ever hope to be, cherish the rounded nose and coy smiles that don our faces let them shine as brightly as you do under your lacquer a painter of us, melanin and fluidity in sexuality, and who knew that a woman like me existed all the way back in the 1930s, tied down and muffled up in the history books somewhere between washington and the cold war, and the roaring twenties, eurocentrism, all the “isms” you and i, we’ve been here all along but i just have had the chance to know of your melancholy visage, a work of art, persona as bold as your brushstrokes- hello ms. amrita, i am shruthi, and it’s a shame we haven’t met before, but thank god i know you now. Shruthi Shivkumar Shruthi Shivkumar has been writing since she was able to form letters with a pencil, and started writing poems shortly after. She is a student at the University of Pittsburgh double-majoring in Biology and English Writing, and loves the colour turquoise almost as much as she loves the wonderful humans in her life. La Belle Captive A rolling stone gathers no moss but a mossy stone gathers some rolls. A loud stone inundates her desire by dropping down in coal grey water. A minuscule stone is referred to as Pebble. You might not notice her hiding below you but, a large stone looms in the frame of your anaphoric eye. A silent stone waits to shatter the glass you view her through. Kari A. Flickinger Kari A. Flickinger was a 2019 nominee for the Rhysling Award, and a finalist in the Iron Horse Literary Review’s 2018 Photo Finish. Her poetry has appeared in Written Here: The Community of Writers Poetry Review, Riddled with Arrows, Door-Is-A-Jar, Rhythm and Bones, Nine Muses, Burning House Press, and Ghost City Review, among others. She is an alumna of UC Berkeley. When not writing, she plays guitar to her unreasonably large Highlander cat. Find her: kariflickinger.com @kariflickinger legendcitycollective.wordpress.com boys of rue mouffetard nothing furtive about the boys their heads high a smile for the girls as they transport magnum Bordeaux bottles the length of their arms cradled to hips nor the girls walking home from school who know the boys bring wine cradled to hips wrapped tightly in their arms Alan Girling Alan Girling writes poetry mainly, sometimes fiction, non-fiction, or plays. His work has been seen in print, heard on the radio, at live readings, even viewed in shop windows. Such venues include Blynkt, Panoply, Hobart, The MacGuffin, Smokelong Quarterly, FreeFall, Galleon, Blue Skies, The Ekphrastic Review and CBC Radio among others. He is happy to have had poems win or place in four local poetry contests and to have a play produced for the Walking Fish Festival in Vancouver, B.C. Munakata Shiko's Mu An enso would have been easy: a fleet circle in one stroke meaning nothing, and the everything inside. But mu is twelve signposts flung with all two hundred and six bones of your body, sweat pooling in splashed ink like the spoor of an animal racing towards its own nature. If an enso is zero mu cannot be solved. Its variables multiply by twelves into an infinity of hours, months, zodiac years, tribes, apostles, lambs. If an enso is an eel swallowing its tail, one way to answer (without swallowing your tongue, your certainty, your doubt, or the twelve questions that arise from every question) does an eel have Buddha nature? is mu. Lindsay Shen Lindsay Shen is Director of Art Collections at Chapman University, Orange, CA. She is the author of a literary biography of a woman poetry translator in China, and Silver, Reaktion Books, 2017. She writes both creative non-fiction and academic work, and her writing has appeared in international publications such as Architectural Review, Modernism Magazine, the Rijksmuseum Bulletin, and China Today. She has written for the National Trust for Scotland, the University of Minnesota, Hong Kong University Press, plus several literary journals and travel guides. Her poetry and creative writing have been published by Antiphon, the Eunoia Review, Cha: An Asian Literary Journal, and Eastlit (nominated for a 2014 Pushcart Prize). The Last Train from St Fort Tickets for Dundee had been collected from passengers on the train before crossing the bridge. The Library of Nineteenth-Century Photography They have the stubs, some fifty-six of these, all punched, a blank triangle nicked from every ticket’s edge, arranged into this neat display, framed up and photographed, a wreath of non-arrival commemorating those they dredged out of the Firth, bedraggled in their city clothes, or navvy’s gear, sandbanks seeping from the seams, and carted lifeless through the streets they would have stepped on to that night but for the force and angle of the wind, and workmanship so bad it might have been deliberate neglect; or some sick joke, like that the men made later from his name, damned Bouch: the bodger who had flung them from the edge of certainty; dashed Victorian assurance that their Bradshaw was reliable, the engineering sound; nothing could delay the locomotive, not yet renamed The Diver as it would be later, hauled out of the deep, uncoupled from its ruined rolling stock to ride the rails another day, the monument from which it plunged unwary through the chasm of the gale: those stubs of pillars strung across the Tay. Brian Johnstone Brian Johnstone’s poetry has appeared in Scotland and over 20 countries worldwide. He has published seven collections, most recently Dry Stone Work (Arc, 2014) and Juke Box Jeopardy (Red Squirrel, 2018), plus a prose memoir Double Exposure (Saraband, 2017). He is a founder and former Director of the StAnza Poetry Festival. http://www.brianjohnstonepoet.co.uk |
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