Fiction Contest--Deadline July 31

Glimmer Train Press

Family Matters
A prize of $1,200 and publication in Glimmer Train Stories is given quarterly for a short story about family. Online submissions are encouraged. Submit a story of 500 to 12,000 words with a $15 entry fee by July 31. Visit the Web site for complete guidelines.

Very Short Fiction Award
A prize of $1,200 and publication in Glimmer Train Stories is given twice yearly for a short story. Online submissions are encouraged. Submit a story of up to 3,000 words with a $15 entry fee by August 31. Visit the Web site for complete guidelines.

Glimmer Train Press, 1211 NW Glisan Street, Suite 207, Portland, OR 97209. (503) 221-0836. Susan Burmeister-Brown and Linda Swanson-Davies, Coeditors. http://www.glimmertrain.org/

Fiction Writing Contest

Attention Creative Writing Community: the Tennessee Williams/New Orleans Literary Festival is accepting submissions for its Second Annual Fiction Writing Contest. The winner will recieve a $1500 prize, a $500-value VIP pass to the festival (March 24-28, 2010), publication in the New Orleans Review, and more. Open to writers who have not yet published a book of fiction. For all the details, go to tennesseewilliams.net. Sounds like a good time!

Creative Writing Club: Call for Writers and Literature Lovers!

Oh, the words, the words,
the achingly

inadequate

beautiful

words.

--Terry Hertzler

Allow me to introduce myself: my name is Michele Beller, and I am the new Student Editor for Cerro Coso’s online Creative Writing Club. I am very excited about having a community of fellow writers with whom I can share my love of writing and good literature. What a great opportunity! Here, we can support each other as we master our craft, bounce ideas off each other, and share resources. I look forward to some inspiration, some good reads, and I really look forward to some great discussions!

What better time than National Poetry Month (April) to shift the online Creative Writing Club into first gear and get ‘er running again? National Poetry Month is an annual celebration of the art of poetry, with the goal of increasing appreciation and support for poetry and poets. Let’s read some great poetry! Let’s write some even better poems! Let’s turn our friends and family on to the pleasures of verse! And let’s have some great fun in the process!

National Poetry Month was started by the Academy of American Poets in 1996, and has been gaining momentum every year since. Inspired by this celebration, we have many fun activities scheduled for April, like some great reads, and some fun writing exercises. Come join us! If you are already a member of Cerro Coso’s online Creative Writing Club, log on and jump in. You’ll see the site has received a spiffy tune-up and a new paint job. If you’re not a member, go here to request the enrollment key from the club’s faculty advisor, Gary Enns.

Review for Parra's After-Dinner Declarations

After Dinner Declarations
Poetry by Nicanor Parra / Translated by Dave Oliphant
Available: December 2008
Host Publications

"What is Poetry?" begins a Nicanor Parra poem that sets the stage for an experience in poetry I never knew I wanted. All right, so you have to get halfway through the book before you read this snippet of thought I'm beginning with, but sometimes we have to be in the middle to realize the value of what came before. Parra describes himself as an anti-poet and I could, at best, be described as anti-poetry. Don't get me wrong, I like some of it, and my generalized opinions haven't miraculously changed due to this reading, but I do believe a gem has been found. I think most critics can agree it's difficult to find good poetry saying something remotely interesting. What was appealing about Parra's style is that he's not pretentious, nor is he cliché.

Parra writes many of his poems in succession to each other offering you to read as if he were thinking aloud and letting his mind wander. Readers might not be familiar with many of the other authors Parra frequently mentions, but think of it as a chance to depart from the formulaic writings that are thrust into our Hollywood society and jump into new ideas for your next booklist. It doesn't take away from the experience. Parra's unique way with words, if not somewhat cryptic, creates a sense of humility (sometimes self deprecating) while simultaneously pompous. And he certainly knows how to serve up a bowl of irony that's palatable while still being thought-provoking.

In one particular poem, Parra utilizes Hamlet's most famous soliloquy, commentary sprinkled throughout for a modern context, in a blatantly honest and humorously somber look into the human condition. The genius that is "After Dinner Declarations" could only come from someone who has lived long enough to know or was born with more wisdom than he deserves. He has seen the pain of politics, life, and ignorance. And yet he maintains the outrage and innocence of a youth who has not yet seen the remainder of his poems. That sort of passion dies with "I've lived long enough to understand," "I've seen things over the course of my life," and the ever so slightly bitter and accepting; "The world is going to hell in a hand basket." He sees idealism as a requirement for young people and insanity for old, but you can't help but see sparks of optimism in his own ideas. Maybe as you reach a certain age, you're able to suppress it and by the time you pass age 70, you can afford to think like a young man/woman, provided the excuse "eccentricity" is readily available.

There are few poets (and for that matter, authors) who can illuminate a problem with such calm and normalcy to be effective in inspiring voluntary brainwork. Parra's "Remarks by the Minister in Charge" relates a social dilemma as if it were the fault of the victims, not unlike the style of Jonathan Swift's "A Modest Proposal." The creativity of this reverse psychology tickles the poetic ivories until you hear the sound of truth ringing in your ears.

The book, on the whole, is very enjoyable. In fact, I quite enjoyed this work for its honesty, complexity, irony, and entertainment, (not to be confused with modern entertainment which lacks the essential effort it takes to realize your being entertained). Parra without a doubt has a way with words, and more importantly, ideas, which explains why he has been nominated several times for a Nobel Prize. But his work speaks for itself, so, to return to the question and poem that I began with, "What is Poetry?" I step down from my podium and ask someone better than me to answer. Mr. Parra, would you mind taking the floor?

Decoding The Love Song

T.S. Eliot’s “The Love Song of J. Alfred Prufrock” brings to life the inner workings of an aging man who worries about isolation and loneliness because he lacks a mate. With only a cursory glance, a reader might believe that this epic journey is but a mere dirge to a life which lacks love. However, deeper analysis brings forth another conclusion about this poem’s true intent. It is in fact a veiled social commentary, focusing on various aspects of human society.

Perhaps the biggest elucidation would be the plot of Prufrock itself. The speaker of the poem is a balding man who it seems cannot find love no matter how hard he tries. As he grows older, his chances become slimmer due to physical unattractiveness which is at odds with the preconceived notion of physical beauty that his community holds when courting. He lives with the knowledge that the women he seeks will say things about him like “'but how his arms and legs are thin'” (678)! Controversially, Prufrock also lets the women he sees blend together into a singular being in the respect that he has “known their eyes already, known them all” (679). Here the speaker is pointing out how all of the women have the same values in a man, and that they are in a way all the same, and thus almost gives up by not knowing how to “presume” due to the repetitive nature of the females in his world. However, eventually, later in the poem he seems to succumb to the situation by deciding that the proper way to handle his age is to take up the latest fashion, wearing the “bottoms of [his] trousers rolled” (680). Even though he still seems dejected and maintains that he will probably never find a woman, he trudges onward and carries on with his quest to attain love. This interpretation of the ending helps us see the conformity that is imposed upon a person who is for the entirety of their monologue and objector to the statues queue. He goes along with the concepts he hates only because he it seems to be the only means to his end. As such, much of his dialog can bee seen as a commentary of the social standards one has to go though for even the most minuscule prospect of love.

One way Eliot illustrates his social qualms is with the many historical references he makes, one of the most noteworthy being “In the room the women come and go talking of Michelangelo” (678). We can imagine that he is talking of perhaps the most famous Michelangelo who created the Sistine Chapel, reputed to be on of the greatest artists of all time. For approximately a hundred years now there have been rumors and evidence circulating claiming that he was a homosexual, this timeline would of course put the start of the rumors within the same time period that Eliot was writing this composition (Alberge). Homosexuality was something of a taboo practice in the early 20th century; it can be assumed that one of the most noteworthy people of all time possibly partaking in same sex relations would be the hot button for gossip. With rumors, there is no need for truth in the matter, only that people are willing to spread it to others who will do so in kind. So when a critical question is posed in the poem we “make our visit” to the place where women talk “of Michelangelo” (678). It would seem as if the speaker is saying that we as a society put the most stock in the gossip of a sewing circle, rather than focusing on what is actually important in the bigger picture. His connotations to rumors are supplemented by those of other literary classics.

Elliot makes numerous allusions to other great works including, but not limited to, Hamlet, The Bible, and Dante’s Inferno. The sheer number of references he makes is a testament to his poetic style, and simultaneously turns the poem itself into something of a social commentary in that only the learned people of the world could read and understand it. Perhaps this was intentionally done to help drive people into become more scholarly, and have a greater appreciation for the various forms of the written word. It has been suggested that he intentionally made his poetry so complex in order to pull in the reader and make them “involved” (Brooker). Is there any doubt that today almost a hundred years later, in the U.S.A, our educational system seems to be in at least quasi dire straights? Moreover, this idea can be further expounded upon when the connection is made that out of all the works both the editors Schilb/Clifford and I could not find a single one which was spawned from the mind of an American. This development helps show his lack of respect for American Literature which was riddled with Romanticism during his time period. In fact he was often noted to “[react] against Romanticism” (Brooker). Perhaps the numerous allusions he makes are in a sense a challenge to the contemporary writers of the era to change their style and become noteworthy enough to be made reference to in a literary work.

Arguably, the most interesting reference in “The Love Song of J. Alfred Prufrock” is made in the very beginning of the poem; it is a selection written in its original Italian from Dante's Inferno. This epic poem is but the fist in a three part masterpiece which chronicles a man’s trip though the various settings of the after life (Hell, Purgatory, and Heaven); the Inferno corresponding to Hell. After translation we find that the excerpt is that of a person in Hell telling Dante that no one returns from Abaddon (Eliot 677). The primary purpose for this opening line would seem to be to tell us as readers that we are already in the fiery pits even if we may not know it. But what is this Hades which Eliot wishes us to see and realize we are in? The rest of the poem would is centered on the social scene of the era with lines like “I have measure out my life with coffee spoons” (678). It is not unfathomable that Eliot might be saying that the communal environment of the time is very much like the dankest of abysses.

Yet another connection occurs in stanzas 5 and 7 in which Eliot some what mimics the biblical poem Ecclesiastes 3:1-8 by repeating the phrase “There will be time” and a pattern of listing two opposing acts such as “plant” and “uproot.” Following the allusion are various metropolitan aspects such as “yellow smoke” (smog) and “taking of toast and tea” (678). Here it is almost as if he is attempting to show us how venerated such facets of life have become, by comparing them in a biblical sense. Furthermore, he goes on to in the same list tell us of time to “murder,” an act which helps bring forth the darker connotation he seems to be going for. As it stands both these stanzas seem to cast light onto some of the “evil” areas of modern life (Brooker).

T.S. Eliot's style and life experiences give credence to the conclusion that “The Love Song of J. Alfred Prufrock” is a social commentary. “The Love Song of J. Alfred Prufrock” was the culmination of the first portion of his career, and was only preceded by a few poems titled respectively "Portrait of a Lady," "Preludes," and "Rhapsody on a Windy Night.” All four of these poems set themes that Elliot would revisit “time and time again.” This concept should be taken into account when we consider his land mark work, known as “The Wasteland” in which he “diagnosed” the troubles not only of his epoch, but of “Western Civilization” as well. His time spent as a literary critic is also quite telling as so many of his essays included “social and religious criticism.” His other works show that he has something of a predisposition for societal appraisal; it would stand to reason then that Prufrock could be thought of as a stepping stone to the greater annotations of his later career (Brooker).

T.S. Elliot has riddled this piece with social commentary galore. He has masterfully woven in many differing views on the way things were accomplished in the world then, and has managed to keep it applicable for today’s world almost a hundred years later. His primary overtone being that of reforming the dating system, we find him even going so far as to compare the dating pool to a circle of Hell. Some of his undertones use historical and biblical connections to show our dependency on rumors and ritual. He even, in a very round about way, goes so far as to make the assumption that American literature is not worthy, and that our educational system is in adequate. The surface of the brimming pot of social commentary has only been scratched, but even soaking in at this level leads me to believe that this is no mere souls lamentation of loneliness.

Works Cited

Alberge, Dalya. "Michelangelo was not gay, says scholar." The Times (London, England) (Feb 22, 1999): 8. InfoTrac Custom Newspapers. Gale. Cerro Coso Community College. 20 Nov. 2008 .

Brooker, Jewel Spears. Dictionary of Literary Biography Volume 329. Literature Resource Center. Gale. 2007. 18 Nov. 2008. Cerro Coso Community College.

Ecclesiastes 3:1-8, New International Version. BibleGateway.com. 2008. 18 Nov. 2008

Eliot, T.S.. “The Love Song of J. Alfred Prufrock.” Making Arguments About Literature. Ed. John Schilb and John Clifford. Boston: Bedford/St. Martins, 2005. 677-680.

Using Masks as Tools of Self-Discovery

The Poems Of Vikram Babu
Poetry by Jesús Aguado / Translated By Electa Arenal / Beatrix Gates
Available: January 2009
Host Publications

Say not, “I have found the truth,” but
Rather, “I have found a truth.”
Say not, “I have found the path of the soul.”
Say rather, “I have met
the soul walking upon my path.”
For the soul walks upon all paths.
-Kahlil Gibran

There exists within every culture the desire to delve into the innermost workings of human nature and expose the conflicts and hypocrisies that divide every person from his or her Self. The poet has always served as a facilitator and mentor in this task, guiding those with the fortitude and desire for such a journey through the darkest passages of their own minds. The Spanish poet, Jesus Aguado, performs this sacred charge by adopting the guise of a seventeenth-century Indian mystic and basket-weaver called Vikram Babu. In his newest book of poems titled The Poems of Vikram Babu, Aguado presents the reader with dark scenarios and sometimes rather comical situations, and then poses questions that dare the reader to explore his or her relationship to the words on the page. But why does Aguado choose the persona of an Indian mystic? And why do the poems in this collection follow such a rigid pattern? While the specific reasons why Aguado imbues his poetry with these characteristics may not be known, it can be inferred that he uses the persona of an Indian mystic to create a sense of the student/teacher relationship between the speaker and the reader. This guise also allows Aguado to detach himself from his creation, giving the poetry in this collection a distinct personality that is not necessarily defined by the author’s own emotions and convictions. The rigid structure used by Aguado may be nothing more than an example of the way in which an Indian mystic may query his students, or it may be a way of inviting the reader to compare him or herself to the subject of the poem.

The persona has always been a standard tool of many of the greatest poets throughout history. Jeannine Hall Gailey, in her essay, “Why We Wear Masks,” writes, “a persona is the “I” of a narrative or the implied speaker of a lyric poem” (1). This is, of course, a rather text book definition for an element used in writing for as many different reasons as there are writers. But Gailey goes further by explaining that the use of the persona is “an exercise in empathy and analysis” (1) that frees the writer and allows the reader to feel what the speaker feels, and see what the speaker sees. In her poem, “Phantasia for Elvira Shatayev,” poet Adrienne Rich speaks through the voice of Elvira Shatayev, leader of a woman’s climbing team who died, along with the other women in her party, while climbing Lenin Peak during a storm in 1974. Addressing her husband, the speaker lists her reasons for undertaking such a dangerous climb, and explains the depth of comradery and love the women have for each other (4). Through this persona Rich is able to convey to the reader the struggle for validation and acceptance a woman in a male-dominated society must undergo, sometimes losing her life in the process. Many of Rich’s poems are written through the personas of real people with tragic stories, inviting the reader to view these individuals as being more than just media fodder, but real people with thoughts and feelings, hopes and dreams.

There are other ways that a poet can employ the use of a persona effectively in his or her works. Some poets pose riddles, enticing the reader to guess at what mask they have chosen to wear. Emily Dickinson does this with exceptional skill. She has been everything from an insect to a cloud, hiding behind clever metaphors and hints. Sylvia Plath’s poem, “Metaphors,” does essentially the same thing, although after reading the first line most will already guess the answer. When the speaker describes herself as “a riddle in nine syllables” (726), there is not much left to puzzle over for the reader. However, the riddle may not have been Plath’s main theme, but a vehicle to drive home another message.

Vikram Babu, the persona used by Jesus Aguado in his latest book of poems, is obviously not used in the same way that the previously mentioned poets choose to incorporate theirs. Instead, Aguado has more in common with Kahlil Gibran and his poetic masterpiece, titled The Prophet. Both Aguado and Gibran channel their inspiration through spiritual teachers who are sought out by those in need of guidance and instruction. Gibran’s persona, named “Almustafa,” (3) answers questions posed by the inhabitants of the city of Orphalese, where he has lived for the past twelve years. The narrative structure employed by Gibran works to draw the reader into the poetry, but more from the perspective of a bystander that is hearing, vicariously, the teachings of Almustafa to his followers. Aguado’s speaker is given no such background information or narrative context, and the reader must create for him or herself the conditions under which these poems are presented. This approach works well for Aguado, and I found myself reading the poems as if Vikram Babu was speaking directly to me, as we both sat meditating by the banks of the river. Both Gibran and Aguado, however, use their personas similarly, to create a textbook of sorts, to guide the reader on a path of truth seeking and self-discovery.

Through Vikram Babu, Aguado dissociates his Self from his poems, making it easier for the reader to claim ownership of the ideas they contain. He is also able to transcend the boundaries of time, religious belief, and cultural constraint by donning the mask of such a benevolent character. In comparison, Gibran’s persona runs a striking parallel to the character of Jesus Christ. Even the way in which Gibran’s speaker addresses his followers is reminiscent of Christ’s sermons. But while Gibran’s speaker is addressing the inhabitants of a fictional city, Aguado’s speaker seems to be posing his questions directly to the reader.

Another important difference between Gibran and Aguado is in the way the poems are written. Gibran’s poems are free-flowing statements advocating a spiritual approach to everyday life, but Aguado’s poems are questions posed in the form of a simile, each one following a strict pattern of structure. Aguado deliberately uses the same format for all fifty of the poems in this collection, presumably to give a traditional voice to his mystic Indian speaker. But repetition is used quite frequently in poetry for a number of reasons. Some poets repeat significant phrases throughout their poems to help guide the reader’s interpretation. Others may incorporate the techniques of poetic meter to present their message in a more subtle way. Aguado’s use of repetition seems to be a way of connecting the poems to each other and to the reader. George Szirtes, author of an essay called, “Formal Wear: Notes on Rhyme, Meter, Stanza and Pattern,” says that patterns “can be the beginnings of religious vision” (5). Like the words a Buddhist monk chants in order to induce a state of pure meditation, the repeated structure in Aguado’s poems works to direct the reader’s gaze inward, until the message is completely absorbed into his or her consciousness.

One more definitive characteristic of The Poems of Vikram Babu is the use of simile found in every one of the poems. All of the poems begin with an almost identical format, such as, “Like the one who attempts” (Aguado 7). Using a Simile as structural support in these poems is a creative way of getting the reader to compare him or herself to the subject of the poem, even before the speaker asks the question, “you too?” (7). Although the use of the simile is by no means new to the poetic landscape, Aguado is able to incorporate this literary tool in such a way that the reader has no choice but to acknowledge the familiar aspects connecting him or her to the poem.

There are many different paths that lead to self-discovery, and some form of truth can be found through all of them. It is the poet’s task to create a map for the reader to consult in order to find his or her bearings in a world where society, like a thick fog, can sometimes bring fear and doubt to a confused and weary traveler. Through The Poems of Vikram Babu, Jesus Aguado has fashioned a map that will serve well the reader who decides to embark on this most serious of expeditions. The defining trait of a great poet is that “if he is indeed wise he does not bid you enter the house of his wisdom, but rather leads you to the threshold of your own mind” (Gibran 56). A debt of gratitude is undeniably owed to Electa Arenal and Beatrix Gates for translating The Poems of Vikram Babu, so that many more people around the world can now add a new and powerful tool to their inventory of indispensable equipment for the journey of self-discovery.

Works Cited

Aguado, Jesus. The Poems of Vikram Babu. Trans. Electa Arenal and Beatrix Gates. Austin: Host, 2008.

Gailey, Jeannine Hall. “Why We Wear Masks.” Poemeleon. 2008. 20 Nov. 2008. http://www.poemeleon.org/gailey-why-we-wear-masks-essay/

Gibran, Kahlil. The Prophet. New York: Alfred A Knopf, 1994.

Plath, Sylvia. “Metaphors.” Perrine’s Literature: Structure, Sound, and Sense. Ed. Thomas R. Arp and Greg Johnson. Boston: Thomson Wadsworth, 2006. 726.

Rich, Adrienne. The Dream of a Common Language. New York: Norton, 1993.

Szirtes, George. “Formal Wear: Notes on Rhyme, Meter, Stanza, and Pattern.” Poetry 187.5 (2006): 416(9). Expanded Academic ASAP. Gale. Cerro Coso Commuity College. 20 Nov. 2008. http://find.galegroup.com/itx/start.do?prodld=EAIM

Met Meetings

Hi guys,this is your new blog editor Pliskin42. We have had two meetings on the KRV campus these past two Tuesdays and we came up to several difficult decisions during them.

In the first meeting we discussed very broad guidelines that we wanted to use when selecting which submissions we would want to make it into print. things that tend to denote amateur writers were to be avoided, such as overtly simple rhyme scheme.We also came to something of a agreement on how to weigh in the ratings on the number scale given already (two or more tens was defiantly worth discussion, ect). Then we eventually delved in, began judging the pieces, and weeded out those who it seemed did not to cut it. There are still a few pieces that are on the proverbial fence, so you editors who have not put in any input throw in your two cents.

During the latter meeting we came to the conclusion that since the Graphic design class is not in session this semester, and we had in the past worked hand in hand with them for art and layout design, it would most likely be best to push back production of this years Met in order make use of their services. This decisions holds a two fold benefit, the first being the aforementioned use of the classes on campus, and the second being that we can now open for new submission and hopefully flush out the few areas where we were seemingly lacking ( for instance we only had a single art submission.) As such we had to go back and come up with new deadline dates. February 28 is now the last day we will be taking submissions for this upcoming Met. March 16 is the deadline we set to have all the submissions that we have chosen in the order we wish them to appear in our final cut. March 31 is our final due date, this is the day on which we must have everything edited as well as ordered and then sent off to the Digital Imaging class for lay out and construction. After Deciding on dates we then discussed how we could foster more support. We came to the conclusion that we needed to advertise more around the various campuses here in Cerro Coso and that it could be done both by word of mouth and by creation of posters. Additionally to foster a greater following with our web based community, the ideas were thrown out to promote the blog with more contributions from the various members of the creative writing community. So all you creative writing community members who want to help make this blog great come on forward! lastly we created a couple new positions in the club, the first being the blog editor (that would be myself) and the second was that of calendar editor ( which went to Margret).

If there is any more questions, concerns, or comments feel free to let us know!
-Pliskin

Buffalo Carp Flash Fiction Contest

BUFFALO CARP
Quad City Arts’ Literary Magazine

*GUIDELINES for Buffalo Carp’s FLASH FICTION CONTEST*

-Prize is $250 USD, plus five copies of Buffalo Carp, Volume 6. All entries will be considered for publication.

-Send no more than three (3) flash fiction stories, each one being no longer than 600 words. ONLY unpublished flash fiction stories may be submitted.

-Entry fee is $10 for each submission of up to three (3) flash fiction stories; please make checks payable to “QUAD CITY ARTS”. All entrants will receive Buffalo Carp, Volume 6 (winning story will be published in Volume 6) with paid entry fee.

-Email submissions are accepted, but will NOT be processed until the $10 entry fee is received.

-Please include a SASE for notification and cover sheet with all contact information (name, address, phone #, and email), title of all stories submitted, and a brief bio. Name and contact information should NOT appear on the stories themselves.

-Judging will be done by the editorial staff of Buffalo Carp.

-Simultaneous submissions are accepted, as long as you notify Buffalo Carp immediately should your work be accepted elsewhere.

-Deadline for submissions is January 16, 2009. Winners will be announced February 2009.

Please send entries to:

Flash Fiction Contest
Buffalo Carp
Quad City Arts
1715 Second Avenue
Rock Island, IL 61201

OR email submissions to: buffalocarp@gmail.com

If you have questions, please contact Ryan Collins: (309) 793-1213 ext. 107, or email: rcollins@quadcityarts.com