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Want to get published? Barely South Review’s reading period is underway


NORFOLK, Va. — Barely South Review, the online literary journal of Old Dominion University, wants submissions of new short fiction, non-fiction, poetry, and artwork.

The submission and reading period ends Nov. 30. Accepted works will be published in the April and September 2012 editions, as well as the January 2013 edition.

Barely South Review is edited by students in the MFA Creative Writing Program, part of the English Department at Old Dominion. Past contributors include Bonnie Jo Campbell, Brian Turner, Patrick Rosal, Joanne Diaz, Jill McCabe and Karen Schubert, and the review this year featured the College Poetry Prize winning work of Wendi White. Interview subjects have included Blake Bailey, Dennis Lehane and Seni Seneviratne, among others.

Full disclosure, for those who don’t know — I’m a student in the program and was on the editorial staff this past year.

Submission guidelines are located at this link. Worth checking out.

I sent Valarie Clark, managing editor of Barely South, some email questions this past week — what the pub is looking for, where it may go as it evolves, etc. The poet Luisa Igloria, director of the MFA program, also responded to the first question via email. So here’s a quick Q&A about a promising outlet for writers and artists. It has been edited for clarity.

Q: What are you looking for in submissions?

Clark:

We want the best stuff people have,  regardless of whether or not it’s considered ‘traditional’ or experimental.  If someone’s written a lovely ‘modernist’ short story, we’ll consider it. If we got some funky postmodern stuff that lacks a linear timeline or a typical narrative thread — if it’s well-written and appeals to our editors — we’ll consider it.

Igloria:

We have a wonderful opportunity to take stock of our regional and geographical positioning in the ‘south’ — with its rich history and traditions — but also recognize that such markers can mean many things to many different people. We are drawn to works that have a strong sense of their own relevance in time and place, but that are not afraid to take risks or interrogate the sense of limits, in genre and in other areas.

We are looking for works that speak to our own desire to find riveting expressions not only speaking to place and identity, but also bringing these conversations to new levels.

The following responses are from Clark.

Q: What genre would you like more submissions for, if any?

Of course, we’re happy to see all kinds, but we’d love to see more creative nonfiction. We’re talking about essays especially. If people want to send us part of their memoir, that’s great, as long as it can stand alone, apart from the greater work. The submitter can’t think to herself, ‘Well, I don’t need to explain that because it’s somewhere else in my book.’ Well, we aren’t reading your entire book. Make us want to, though, by sending us some terrific piece that can exist on it’s own.

We’re also now accepting art — photos, drawings, even small animations if they’re meaningful.  We don’t want a bunch of GIF files of folks from Jersey Shore.  That’s what message boards are for. But a GIF file of a political figure that makes a statement of some sort by using the animation —we’d consider that.

Q: Would you talk about the themes of the issues this year and how work might address them?

We’re still working on hammering out themes, but we’d do a special call for them if we decide to go that route, and editors are considering establishing themes for issues in 2013.

Q: How has Barely South done so far? Where does it go from here?

Not only are we seeing an increase in submissions already this year — including an increase in nonfiction — but one of the nonfiction essays from the inaugural issue in April 2010 was nominated for a Pushcart by a member of the Pushcart Prize panel.  Many publications nominate their own content, and we’re thrilled that someone from that prestigious contest read our humble literary journal and found quality there. And what a thrill for the author!

In the immediate future, we’re shooting for having the journal put into a downloadable PDF file that people can put on their e-readers. We hope that happens as soon as the January 2012 issue. That means we get to flex our creativity by designing an issue as if we were sending it to print — choosing layouts, fonts, all that good stuff.

We’d like to be able to do some print issues in the future, whether that’s just for ‘special issues’ like the January literary festival craft interview issue — which we’ll be doing again for 2012 — or maybe it’s a ‘limited run’ kind of thing for each issue. This is the year where BSR is starting to plan for the future and how successive ODU students are going to leave their mark on the journal.

One of the most important things for me, as managing editor, is to make sure that BSR is not only a quality publication that keeps up with changing technology trends and how the public wants to spend their time and money, but I also want the experience of putting BSR together to be an amazing one for the students. The staff is made up entirely of students in their second and third years, with some administrative assistance from first year students. This is an outstanding opportunity for the staff to learn not just how to read critically, but how to make choices about what works well together, how to make tough decisions regardless of the biography or the name associated with the piece. Soon they’re going to need to learn all the deign aspects of a print journal as we move to the PDF format.

And in the future we’d like to move to our own separate website instead of being dependent on a blog-type platform that restricts our creativity somewhat. That means we’ll have a constant need for a wide range of talents, and students who are good with technology can find a place alongside those who are more comfortable with traditional journal formats. So far this year we’ve made some terrific decisions together that are already reaping benefits — such as the choice to start accepting art as a regular type of submission.

Wow, submitting to this whole Barely South deal sounds wicked great! What do you think, Vinny?

What are you thinking of sending, Vin — a chapter from the memoir?

Yo, Vin. That’s pretty much your only move, huh?

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Belligerent Q&A, Vol. III: Travis A. Everett of Tunnel Traffic


 

 

Travis A. Everett, who is from Texas, wears a hat with not one but two Ts on it in this photo. He is the founder of Tunnel Traffic, an occasional reading series. Texans seem to like a certain kind of alliteration. Photo by John-Henry Doucette.

Tunnel Traffic is an open-mike reading series that generally is held at Borjo Coffeehouse near Old Dominion University in Norfolk, Va.

The series was developed by Travis A. Everett in coordination with the MFA Creative Writing Program at Old Dominion University. One of its sponsors is Barely South Review, the program’s online literary magazine. By way of full disclosure, I’m a student in the MFA program and was one of the fiction readers for the review this past year.

I recently traded emails with Everett, since the next reading is coming up on Wednesday, April 13. The topical reading series is meant inspire new work and provide reading experience for students, according to the webpage. Writers write to prompts announced before each reading. The vibe is meant to be low-pressure and casual.

In addition to his studies at ODU, Everett is a poet and the founding editor of escarp, a text message-based review of “super brief literature.”

This Belligerent Q&A is about Tunnel Traffic. In case you missed the photo cutline above, let me mention that Everett is from Texas. I wonder if that will come up.

Q: Just who do you think you are? Please use three examples in your response.

  1. An accident waiting to happen
  2. A typography/design geek
  3. A weekend programmer

Q: It seems to be an interesting choice to name something Tunnel Traffic and expect people from Hampton Roads to want to experience it. Please describe your marketing plan in a limerick, haiku, or rhyming couplets.

I come from West Texas
where sky is the coolest thing
you can drive under

Q: The bling, the flashy cars, the reality shows – hasn’t the public had enough of the ostentatious lifestyles of the creative writing community and its twisted, insatiable passion for the subversive forms of fiction, poetry and narrative nonfiction?

Well, I think that’s actually one of the problems contemporary literature faces. So the equivalent of a Benz and a bottle of Cristal is a stuffy reading voice or a highly referential style that both resist non-writers — and the reality-show analog is writing about a writerly life like it’ll matter to anyone who isn’t a writer. There’s room for that, of course, but I also think it’s a really self-fulfilling prophecy to bemoan the lack of readership for very writerly books of poetry and prose. So in that sense, yeah — I think the public has had its fill of a specific kind of writerly lifestyle.

Q: Your readings are “topical” – please explain. Does that mean topical like a Jay Leno monologue, or topical in a way that prolongs one’s will to live?

Or topical like anti-itch cream? So you can listen to one late night monologue and hear a joke about, let’s say, a runaway Toyota, and you might laugh. But a single joke doesn’t show how far the content can stretch. Let’s say it’s topical like a roast, or a slam-dunk contest: shedding the usual rules of the dance give it a relaxed, fun, informal atmosphere with an undercurrent of both inter- and intra-personal competition.

In some sense it doesn’t matter, on The Tonight Show, if Jay has the best Toyota joke or not (as long as his joke is at least funny) because he’s not in a topical context. But if you take a number of late-night hosts and other comedians and let them know you’re having a runaway-Toyota-joke-night, they’re each going to be looking for an angle no one else will take and as a result they’ll cover a lot more territory, territory they probably wouldn’t have opened up as individuals outside of that context.

Q. We’ve covered so much ground here. What else would you like to say?

If you commit to coming, a topical prompt will help you write something you probably wouldn’t have written otherwise. Seeing how other writers approach the same task can help expand your sense of what words can do. It’s a low-pressure way to get reading experience.

The next Tunnel Traffic reading is scheduled from 8 to 9:30 p.m., Wednesday, April 13, at Borjo at W. 45th St. and Monarch Way. The topics are Easter eggs and/or gunpowder. Members of the public are welcome to come out either to listen or to read.

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Barely South Review features Dennis Lehane


The new edition of Barely South Review is now online, and among its many new features is an interview/essay by Tony DeLateur with Dennis Lehane, author of Mystic River and other novels.

DeLateur is a pal from the Old Dominion University Creative Writing program. He does a nice job walking through Lehane’s general chop-busting of writerly writers and the critics who love labeling, and slides into the advice:

Responding to the aspiring writer’s first great hurdle, the blank page, Lehane simply said, ‘Gut it out…the only answer is the answer that nobody wants to hear: you just have to put your ass in a chair and write.’

And capping his take on Lehane:

Dennis Lehane’s ability to execute intricate, believable stories that rise naturally from characters’ actions has garnered him both success and recognition. In addition to his print work, Lehane was tapped for HBO’s The Wire, a sprawling drama hailed by many critics as one of the greatest television series ever made. Three of his novels have been adapted into feature films. All this is proof enough to certain bitter writers that his work is too universal, too simple. But after hearing this author expertly dispatch preconceived notions about what a “crime author” should value, I left believing that only two types of fiction exist: stories that work – that have journeys which contain drama and emotional depth and action – and those that don’t.

So I hope you’ll read the story, if you dig Lehane or writing in general. The advice is fairly common sense, of course. I just like Lehane.

I also pulled out my notes from Lehane’s talk last year at the ODU Literary Festival, and here provide some high points.

Lehane on Lehane:

I’m a bastard child of pulp fiction and high art.

On writing:

You should always write the book you want to read.

You can’t be an author without being an outsider, a round peg in a square hole.

The relationship when I write is a very intimate and charged relationship between me and an imaginary reader.

If you’re going to write a novel, you’ve got to know how to plot. Tell a story, move it forward, have a beginning, middle and end. … People read for story. … You have to engage the reader in telling a story, and nobody can tell me different.

On when you meet an ass of a writer:

It’s cause they never had friends.

And (though you miss a bit without Lehane’s delivery) on graduate students in MFA programs and such:

I always write 20 pages into a book of a character sitting in a room. You guys actually turn them in.

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