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lov.foundation is a nonprofit dedicated to curating meaningful artistic experiences and fostering connection through cultural practices. by cultivating hope, encouraging empathy, and sowing the seeds of peace, we reimagine humanity’s narrative through the transformative power of arts and culture.

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Connecting Humanity Through the Power of the Arts

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JAWS is a peer-reviewed journal that publishes new art and writing from early- to mid-career researchers and practitioners working across creative disciplines. JAWS publishes writing about art and writing as art. We welcome practice-based research, visual essays, book reviews and interviews by emergent practitioners and researchers. Supporting criticality and experimentation in arts writing, the journal connects authors to an international audience. JAWS welcomes divergent and/or unconventional forms, as well as more traditional submissions.

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JAWS: Journal of Art & Writing; JAWS is a peer-reviewed journal that publishes new art and writing from early- to mid-career researchers and practitioners working across creative disciplines. JAWS publishes writing about art and writing as art. We welcome practice-based research, visual essays, book reviews and interviews by emergent practitioners and researchers. Supporting criticality and experimentation in arts writing, the journal connects authors to an international audience. JAWS welcomes divergent and/or unconventional forms, as well as more traditional submissions. 
Formerly published as JAWS: Journal of Arts Writing by Students, 2015–2025 (ISSN: 2055-2823, Online ISSN: 2055-2831).

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The Pascagoula River runs through modern day Pascagoula, Mississippi located at the mouth of the Mississippi River. “The Legend of the Singing River” is actually a collection of legends and myths about the origin of the strange musical sounds coming from these waters when the conditions were right. For hundreds of years visitors and locals have experienced and attempted to describe the eerily beautiful sound seemingly rising from the water. This has been typically described by locals as “a mysterious humming sound that rises from the waters of the river.”

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This site is built by Professor Jason Arday's former students.

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This site is built by Professor Jason Arday's former students.

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"Collecting first-hand testimonies from people who knew him, learned from him, or crossed paths with him. Supervisions and seminars, emails, a reading list, a word of advice that stuck. Small things count. Small things are usually the whole point."

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First-hand accounts from people who knew him. Collected by his students.

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At the Edge of the Sea

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Silent Spring

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Tahoma Literary Review is published twice a year. We aim to produce an independent literary magazine that sustains writers, poets, editors and everyone involved in the creative process. All of the selections are original, previously unpublished content from the submissions queue. TLR pays its contributors and support staff.

Founding editors Joe Ponepinto and Kelly Davio started Tahoma Literary Review in 2014.

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Tahoma Literary Review is a three-times-yearly literary journal of poetry, fiction, and nonfiction. We pay professional rates to our contributors.

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We don’t care about credentials, but about creation. We like: translations of the visible into the invisible, translations of the invisible into the visible, inner streams, visions, gardens, bodies, divinations, etc. This can take the form of poetry, prose, drawing, painting, sculpture, audio/video work, or anything else you want to submit, as long as it came from the source.

Submission Guidelines: Submissions are always open and will be considered on a rolling basis. Send all submissions via email to hungercandle@gmail.com with the word “submission” somewhere in the subject line. Any file type works, including .pdf, .doc, .jpg, .png, .mp4. In the body of your email, please include your name, a short third-person bio, and (optionally) any website links/social media handles you’d like to include.

Our current response time is about 2 months. We aren’t currently able to pay contributors, although we hope to be able to do so in the future.

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We publish visual art and writing that bend time and genre and perspective, blur waking and dreaming life, find sublimity and absurdity in the everyday, magnify the senses, multiply and distort the possibilities of narrative, and interrogate power by breaking form.

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A print magazine of psychedelic art and literature

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Cabbage Patch Literary Magazine: Now Seeking Submissions

Cabbage Patch is a new online journal of poetry, fiction, creative nonfiction, fragments, photos, images, and “strange hybrid things.”

“Think of this as a literary attic full of strange stuff.” They’re looking for emotionally resonant writing, and they “believe in warmth over prestige.” They love publishing new authors, and they welcome reprints.

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» Cabbage Patch Literary Magazine: Now Seeking Submissions

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Cabbage Patch is a new online journal of poetry, fiction, creative nonfiction, fragments, photos, images, and “strange hybrid things.”

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Harvard Review publishes short fiction, poetry, essays, and book reviews. Writers at all stages of their careers are invited to apply, however, we can only publish a very small fraction of the material we receive. If you are interested in submitting your work for consideration, please refer to the guidelines below. We recommend that you familiarize yourself with Harvard Review before you submit your work. You can find information about the current issue as well as subscription information online.

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donate buy the print journal sign up for our newsletter “ The prophets were given the secrets of the universe, but I am only seeking my own. —Burhan Sönmez (trans. by Alexander Dawe),

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Death of Workers Whilst Building Skyscrapers

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Death of Workers Whilst Building Skyscrapers

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Death of Workers Whilst Building Skyscrapers is a small press in Manchester aiming to regularly publish experimental writing of all kinds (poetry, fiction, prose, essays, visual art).

Due to being permanently disappointed with so-called reality, this platform is here to share work that is challenging, philosophical, and against convention.

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p ubli cati ons fr om th e pr e ss | death of workers

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​death of workers whilst building skyscrapers is an independent art and literary press specialising in experimental, intimate writing and hand-crafted books in the realms of poetry, fiction, memoir and essay.

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RAWGUE. is an editorial experiment aiming to spotlight art in its most sincere form. A space for the unaltered and emotionally unedited. In other words, art that hasn’t been aesthetically polished to fit the feed for approval.

Each issue’s theme isn’t predefined, but instead, it emerges organically, every two months, from the submitted work, without top-down curation, imposed direction, or editorial bias. Just quiet trust in what artists bring forward.

We publish all forms of poetry: written, drawn, painted, photographed, or filmed. Think of this not as a zine, but as a shared stream of consciousness or a collective search for meaning. A breath of fresh air in an age tainted by AI, ego, and money, where sincerity dares to win over perfection.

We believe the need to create is inherently human, just like the need to express, to give, and to share. To be seen, understood, and accepted. To connect and to belong. We wish to enable every artist to do just that.

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RAWGUE. is an editorial experiment spotlighting all forms of poetry in their most sincere form.

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Washington Square Review, an award-winning journal of new fiction, creative nonfiction, poetry, translations, and interviews, is published biannually by the students and faculty of the NYU Graduate Creative Writing Program.

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Washington Square Review is the NYU Creative Writing Program’s journal of fiction, poetry, and interviews.

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We’re looking for:

Photographers

Collage-artists

Illustrators

Poets

Short-story writers

Essayists

Graphic Designers

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CLICK THE FOLLOWING LINK TO SUBMIT YOUR ART: https://forms.gle/pK1sdwkqKo29Mk4r8 We’re looking for: IMPORTANT: All artwork must be sent in CMYK colour with 300dpi image resolution. A common question we get asked is if we take previously published pieces, we do! We also accept submissions from artists who have previously been published in ANARKISS. ISSUE 14: […]

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For all our submissions, themed or otherwise, we welcome especially work by writers who are part of marginalized groups: immigrant and indigenous writers; writers of color; women, non-binary, LGBQIA and trans writers; writers with disabilities both visible and invisible. Send us your best work!

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For all our submissions, themed or otherwise, we welcome especially work by writers who are part of marginalized groups: immigrant and indigenous writers; writers of color; women, non-binary, LGBQIA and trans writers; writers with disabilities both visible and invisible. Send us your best work!General GuidelinesThe Fourth River publishes print and online issues. Submissions are accepted July 15-September 15 and November 15-January 15. We will occasionally run special calls for theme issues as well. Submissions for the web series, Tributaries, is rolling, though we will sometimes close for a short time to catch up on reading.There is a $3 submission fee for our issues, however we will announce FREE submission days occasionally over social media, so be sure to follow us!Submissions to Tributaries are always free.We wish it were otherwise, but The Fourth River is not a paying market at this time. Contributors to our print issues will be offered one copy of the issue in which their work appears. Digital contributors will be offered either one back issue or a copy of the upcoming print issue. We welcome submissions of previously unpublished poetry, fiction, creative nonfiction and visual art, that explore the relationship between humans and their environments, both natural and built, urban, rural or wild. We are looking for writing that is richly situated at the confluence of place, space and identity—or that reflects upon or makes use of landscape and place in new ways. ***Recent authors we’ve published include Barbara Hurd, Susan Cohen, Todd Kaneko, Mia Ayumi Mahlotra, Ira Sukrungruang, Lisa Summe and Bk Loren. Contributors to The Fourth River have received Pushcart Prizes, NEA Fellowships, and The Drue Heinz Literature Prize. The Fourth River’s contributors have been published in Glimmer Train, Alaska Quarterly Review, The Missouri Review, The Best American Short Stories, The O. Henry Prize Stories, and The Best American Travel Writing.

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We publish massive issues full of poetry, all sorts of prose including micros, flash, fiction, CNF and essays on literature, plays and scripts, and art, photography, comics, cartoons, you name it — there is something for everyone in there. While we do recommend reading our previous issues to get a feel of how we curate our space, we don’t want you to be restricted because we are more likely to mix things up and make it exciting for the reader rather than sticking to some straightjacket formula.

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“A redivider is in a constant state of flux. It’s always splitting itself open to see what will happen, or to find out what lurks deeper inside. Writers are all redividers. The ones whose work appears here have made something whole out of their endless division.” — Redivider’s first Editor-in-Chief, Megan Weireter

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Please submit your work through the Submittable page only. Redivider will not accept work through email or USPS. We welcome simultaneous submissions.

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L’Esprit Literary Review publishes work written in the fearless, risk-adept, and revolutionary spirit of High Modernism. We accept short fiction, creative non-fiction, novel extracts, literary criticism, book reviews, artwork, and photography. General submissions are currently open for Issue Nine. Reading periods are announced here, on social media, and in our newsletter.

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L’Esprit Literary Review publishes work written in the fearless, risk-adept, and revolutionary spirit of High Modernism. We accept short fiction, creative non-fiction, novel extracts, literar…

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Red Hen Press is an independent, nonprofit press that publishes about twenty-five books of fiction, nonfiction, and poetry every year. We’re looking for novels, memoirs, creative nonfiction, hybrid works, essays, and poetry collections of exceptional literary merit that demonstrate a high level of mastery.

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Red Hen Press - LA's Oldest Nonprofit Literary Publisher

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Red Hen Press - LA’s Oldest Nonprofit Literary Publisher

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Red Hen Press is an independent, nonprofit press that publishes about twenty-five books of fiction, nonfiction, and poetry every year. We’re looking for novels, memoirs, creative nonfiction, hybrid works, essays, and poetry collections of exceptional literary merit that demonstrate a high level of mastery.

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10 Years Of Female And Non-Binary Vision: A Free Guide

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10 Years Of Female And Non-Binary Vision: A Free Guide

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"I understand the female gaze less as a visual style and more as a shift in power. It asks who gets to look, who gets represented, who gets to construct meaning, and how. I'm interested in creating photographs that resist easy readings, leaving room for complexity. If there is a female gaze in my practice, perhaps it lies in that refusal of certainty, in the embrace of nuance."

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And so much more...

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CALL FOR PITCHES + SUBMISSIONS
Issue 04: flood

The Vermin is returning for its fourth issue. We’re looking for work that explores the theme “flood.” Flood might be the central metaphor of our current conjuncture: a crashing catastrophe; a deluge that empire cannot contain. While imperialism seeks to weaponize, contain, and regulate water, flood is a force of resistance against enclosure. It erupts and spreads beyond control, breaking confinement and re-shaping landscapes irreversibly.

The Vermin is a critical experimental magazine for the underbelly offering a platform for the subversive and peripheral. Based in Toronto, Ontario, we are a volunteer-run collective of young and emerging writers, artists, editors, and designers.

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The Vermin is a critical experimental magazine for the underbelly offering a platform for the subversive and peripheral. Based in Toronto, Ontario,

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The Riddle of Leonora Carrington’s Mystical Masterpiece - 'Les Distractions de Dagobert'

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I was researching Carrington while thinking about one of the Tarot card provocations, and I found this beautiful painting of hers that I'd never seen.

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The Riddle of Leonora Carrington’s Mystical Masterpiece

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‘Les Distractions de Dagobert’ sold for $28.5 million at Sotheby’s in 2024, setting a new record for the Surrealist artist.

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The ten best short novels under 150 pages – chosen by experts. What are your recommendations 🥰

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The ten best short novels under 150 pages – chosen by experts

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These expert recommendations are short enough to tear through over a weekend

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Around 1,300 years ago, a woman leant over a precious book, and etched some letters into the margin, along with some cartoonish drawings. She didn't use ink – she scratched them in, so they were almost invisible to the naked eye.

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The mysterious doodles hidden in a 1,300-year-old book

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Centuries-old books, manuscripts and printing plates often contain invisible etchings, mysterious letters – and even doodles.

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It’s Freezing in LA! Is a critically-acclaimed platform for climate writing and images. We find detailed, complex and fascinating new topics and make them accessible, engaging and exciting.

We have built a space that fuses art, politics and science while platforming brilliant emerging and under-represented writers and illustrators in the climate movement. We publish a bi-annual, 60 page collection that dives into difficult environmental questions, and in Spring 2023 we launched this digital platform.

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Support our Climate Work

How Present I Am: three perspectives on neurodiversity, creative work and ecology

Neurodiversity adheres neither to a single definition, nor a uniform experience. In this taster from our new issue, Elspeth Wilson describes how her nature writing and creative work intersect with both her sensory needs, and the environment around her, and speaks to Jane Burn, poet and illustrator, and Tzipporah Johnston, embroiderer and visual artist, about their own experiences. Edited by Zainab Mahmood.

The Sounds of the Climate Emergency

The Sounds of the Climate Emergency

Field recordings are atmospheric conditions in which to create an album - but they're also being used to understand the world around us a little better. Gail Tasker looks into efforts to catalogue the sounds of our changing planet. She finds works that tell ancient stories, uncover geographical mysteries and record the drivers of the climate crisis. Edited by Katie Urquhart.

Climate of Anxiety

'Climate anxiety' is often used to describe horror at the environmental catastrophe we are living through. But what does it really mean to live through a crisis of such head- spinning, far-reaching and all-consuming proportions? Clayton Page Aldern digs deeper into the neuroscience as he seeks to understand emotional and physical responses to the climate crisis.

Edited by Alice Skinner and Eleanor Leydon. Illustrated by Byun Younggeun. This article was commissioned and funded in collaboration with Wellcome Collection's Stories.

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It's Freezing in LA! magazine is an independent magazine about climate change, printing the best slow journalism and illustration on green issues.

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Bodies of Work

Modern life can be a curiously disembodied experience: we swipe and scroll, crop and click, zoom and control+z; our interactions are often mediated by screens or filters; we no longer look one another in the eye as we once did (or we’re forced to do it on Teams).

Are our flesh-and-blood selves becoming attenuated and atomised by the increasingly digital texture of our days? What’s the fate of the human body in this age of looksmaxxing and biohacking? How do our historic perceptions and misconceptions of bodily states and identities, including disability and gender, inform our present and shape our future?

Check in with your body for this edition of Griffith Review.

Things to note:

* We’re looking for non-fiction and fiction that responds to the theme.
* We want pieces that are no longer than 4,000 words.
* We’ll let you know the outcome of your submission within eight weeks of the call-out closing date.

Submissions open: 09.00 am AEST, 13 July 2026

Submissions close: 11.59 pm AEST, 23 August 2026

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Griffith Review 69:
The European Exchange

How do the deep and complex relationships between Australia and Europe realise themselves?

Griffith Review 69: The European Exchange looks at the multifaceted relationship between two distant continents.
Purchase

Announcing the winners of The Novella Project VIII

Congratulations to Rhianna Boyle, Claire G Coleman, Mikele Prestia and Kate Veitch!

Their winning novellas will appear in Griffith Review 70: Generosities of Spirit, published 3 November 2020.

Read more here.

Through the Window:
Every paddock has its problem
From this rural vantage point, during lockdown, I've been intrigued by the changed way people connect in the 'big world out there'.
In the ninth instalment of our occasional COVID-19 chronicle, writer Hayley Katzen reflects on the contemplative and creative possibilities of lockdown.
Read the piece in full here.

The Latest

This south and that north

Listen to Ashley Hay's introduction here: ...

Ripped in half?

ON THE HIGHWAY before the turnoff to the tranquil village where my small house sits in the heart of Europe - in Vojvodina, an hour from Belgrade; near the Romanian border; and on the edge of a nineteenth-century Au...

Class, identity, justice

THE IMAGE IS strong and striking. It is of a young woman; her face unsmiling, her gaze proud and ever so lightly mocking - as if she knows that you are ascending the stairs to a contemporary art gallery and that you ...

Current Edition

The European Exchange

How does the European presence realise itself in Australia - and what is the influence of Australia in Europe?

Next Edition

Subscribe to eNews

Stay up to date with the latest, news, articles and special offers from Griffith Review.

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How do the deep and complex relationships between Australia and Europe realise themselves? Griffith Review 69: The European Exchange looks at the multifaceted relationship between two distant continents. Purchase Congratulations to Rhianna Boyle, Claire G Coleman, Mikele Prestia and Kate Veitch! Their winning novellas will appear in Griffith Review 70: Generosities of Spirit, published 3 November 2020.

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An Australian magazine - essays, non-fiction, poetry, visual art.

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Australian arts magazine for emerging and established artists

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We are short story publishers, devoted to encouraging and promoting short story writing. Our regular anthologies of new short fiction feature a diverse range of established award-winning authors and newcomers, all brought together by the love of a well-written short story.

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You can submit short stories for potential publication at Uncertain Stories here at The Fiction Desk.

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What We’re Looking For

QW is looking for writing that is: Exciting. Challenging. Risky. Unpredictable. And Different.

We could say what different means, but then we might receive a slew of submissions that are all different in the same way. Different will be victim to form—to the “fragment sentence,” “non-linear plot,” and “hybrid genre.” Different will be beholden to space, time, story, and moment. This does not seem the way to open the door for Different.

We think Different doesn’t open a door, actually. Different doesn’t know doors or windows. Different stomps in. Maybe it seeps in. Sometimes, and in our favorite works, different is always already there and it strikes flint and blazes. This is what we look for.

Send us your work. Seep in. Stomp in. Strike us. Set the familiar voice on fire.

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Yolk is a Montreal-based literary journal that publishes fiction, poetry, non-fiction, and visual arts in our print (Canadian citizens and residents of Canada) and digital (Canadian + international) publications. Our mandate is to publish fine work by established and emerging artists. We encourage submissions from all artists and writers, including those from marginalized communities and those generally under-represented in literature, in particular Indigenous writers, writers of colour, LGBTQ+ writers, and writers with disabilities.

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Montreal-based literary journal | Publishing the work of established and emerging artists.

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In an increasingly polarized world, existing in binaries, where conscious division on the basis of identity has become the norm, the Conflictorium stands for the in-between, beyond the black and white, where the shades of grey are acknowledged and celebrated for the cause of peace.

In doing so, we at the Conflictorium envision ourselves as a medium that helps build bridges creatively; highlighting how social change is possible through innovation.

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The Museum of Conflict is glad to welcome you back!

To maintain everyone's health & safety we have arranged for you to plan your visit and practice physical distancing. Please go through the following guidelines prior to your planned visit.

Pass through the disinfectant tunnel to enter the Museum premises.

Use the foot-stand dispensers that are available on both floors to sanitize your hands regularly.

Get a thermal scan at the reception desk.

Confirm your name and contact details at the reception.

Maintain a safe distance of 3 meters while interacting with anyone.

Lastly, the most important measure, wear a mask.

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The Museum of Conflict is glad to welcome you back! To maintain everyone's health & safety we have arranged for you to plan your visit and practice physical distancing. Please go through the following guidelines prior to your planned visit. Pass through the disinfectant tunnel to enter the Museum premises.

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Scarlet Tiger Press is a new small press publisher based in Devon. Combining words and illustration, we question what it means to make art in the era of climate crisis, and explore new possibilities for human and non-human connection.

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https://www.theguardian.com/books/2017/jun/08/bluets-maggie-nelson-review-heartbreak-sex

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Story about a woman who created amazing - if not 100% accurate - history maps for teaching in the US, I’d never heard of her…

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Shop Our Range of Prints Premium prints using pigment-based archival inks (Giclee process) on high grade heavyweight art paper. Available as unframed or framed and ready to hang. Free Shipping to US, UK, EU, Canada, and Australia.

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In the 21st-century, infographics are everywhere. In the classroom, in the newspaper, in government reports, these concise visual representations of complicated information have changed the way we imagine our world. Susan Schulten explores the pioneering work of Emma Willard (1787-1870), a leading feminist educator whose innovative maps of time laid the groundwork for the charts and graphics of today.

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Long-time ASLE member and founder of one of the first Environmental Humanities Programs in the nation, Leila Christine Nadir, has joined Los Angeles Review of Books as their new Environmental Humanities Section Editor. She is inviting ASLE members to pitch her with ideas for book reviews, author interviews, and timely essays. LARB is a great place to try out new ideas and new close readings of cultural artifacts (books and beyond), get your work in front of a large public audience, and bypass the lengthy peer review process. Keep in mind that all writing must be pegged to a recent event: a book release, an event or issue in the news, an anniversary, etc.

Leila is seeking rigorous yet conversational writing that will translate academic concepts and discourses into public dialogues, such as: empire, colonialism and decolonization, war, slow violence, extraction, restoration ecologies, survivance, indigeneity, biopolitics, the “Anthropocene,” reproductive futurism, deep/geologic time, racial capitalism, plantation economies, climate change as colonialism, climate migration, energy humanities, petro-cultures, industrial histories, extinction studies, militarized landscapes, the politics of breathing, and more.

Some recent examples of published pieces she's recently published include this essay on petromodernity and the US war with Iran by environmental historian Ciruce Movahedi-Lankarani, Heather House on "Knowing Fictions," and reviews and interviews on the release of new works by literary mycologist Maria Pinto, animal and water advocate Sangu Iyer, Native American writer and filmmaker Julian Brave NoiseCat, poet Donika Kelley, Alexis Pauline Gumbs with Jason Allen-Pasisant's Possibility of Tenderness, and more.

Reach out to Leila with a pitch or any questions at leila(at)lareviewofbooks.org. You can also send clips of your writing if you would like to be contacted for possible reviews of books in your interest and research areas.

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I had a beloved copy of this book as a kid, and was able to track it down on abebooks a few years ago. It was one of the most magical and, I think now, weirdest books I owned, containing recipes for dolls made of outdoor things like sticks, stones, flowers etc. This particular recipe is one of my favourites, I love the elegant sound of the word Excelsior in contrast with 'mud balls'. I don't think I knew at the time what Excelsior was, and as it was in the before-times when it could be difficult to to answer such a question, I was not able to do what I did today, jump on the internet and find out that it means wood shavings used as packing material. On reflection, I think it was better not to know, just EXCELSIOR.

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Geoffrey sent this to me on the same day I watched the video of the June 30 session, some visualisations of the enormity of time (from 2013). It was lovely to see you all and follow along, I had to keep reminding myself that although I felt that I was there participating, you could not see or hear me!

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Humans are good at a lot of things, but putting time in perspective is not one of them. It's not our fault-the spans of time in human history, and even more so in natural history, are so vast compared to the span of our life and recent history that it's almost impossible to get a handle on it. If the Earth formed at midnight and the present moment is the next midnight, 24 hours later, modern humans have been around since 11:59:59pm-1 second. And if human history itself spans 24 hours from one midnight to the next, 14 minutes represents the time since Christ.

To try to grasp some perspective, I mapped out the history of time as a series of growing timelines-each timeline contains all the previous timelines (colors will help you see which timelines are which). All timeline lengths are exactly accurate to the amount of time they're expressing.

A note on dates: When it comes to the far-back past, most of the dates we know are the subject of ongoing debate. For these timelines, it's cumbersome to put a ~ sign before every ancient date or an asterisk explaining that the date is still being debated, so I just used the most widely accepted dates and left it at that.
For teachers and parents and people who hate cursing: here's a clean, Rated G version.
You can get the poster of this graphic here. It comes in both normal poster size and long skinny vertical size. And a prettier, less offensive version.

___________

If you liked this, these are for you too:

The AI Revolution: The Road to Superintelligence - A closer, somewhat horrifying look at the future

SpaceX's Big Fucking Rocket: The Full Story - A post I got to work on with Elon Musk that convinced me that humans will be on Mars by 2025.

The Fermi Paradox - We've never seen signs of alien life, even though it seems like we should have-so where is everybody?

And two other big graphics I made that also took me 900 years:
Horizontal History -This one puts human history in perspective

The Death Toll Comparison Chart - A lot of people die a lot

_______

If you like Wait But Why, sign up for our unannoying-I-promise email list and we'll send you new posts when they come out.

To support Wait But Why, visit our Patreon page.

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Putting Time In Perspective - UPDATED - Wait But Why

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Putting massive amounts of time in perspective is incredibly hard for humans, so we made this graphic.

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Discworld

Belatedly I thought of the origin story of Discworld, a magical world born from the imagination of Terry Prachett, the English writer, satirist and activist. Discworld is a flat disc situation/supported on the backs of four giant elephants (named Berilia, Tubul, Great T'Phon, and Jerakeen), themselves standing on the shell of the colossal turtle - the Great A'Tuin, - swimming through the cosmos.

Great A'Tuin was inspired by the ancient World Turtle myth found in Hindu, Chinese, and Native American cultures.

Pratchett explicitly adapted the Hindu cosmological model where the world rests on the backs of four elephants, which in turn stand on a giant turtle (often named Kurma or Akupara).

He also incorporated the logical problem known as "turtles all the way down," which questions what supports the supporting turtle, using it as a satirical exploration of narrative causality and the absurdity of seeking infinite foundational proofs. It’s a humorous expression of the philosophical problem of infinite regress, where every explanation requires a further explanation, leading to an endless chain with no foundational base.

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Earth, Sky, Wind and Weather -Tim Ingold describes humans not as beings moving across a landscape but as creatures immersed within a world of weather, air, and materials.

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I keep mentioning the novel and I thought why not post a chapter, in case anyone is looking for reading material or is curious. This is Chapter 6, which sees the protagonist go from her house in East Oxford into London to the big student fees protests on 9 December 2010.

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1960's bas relief on an administrative building in Nimes

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I was feeling sorry for myself, having to attend the annual meeting of our building management company during the hottest part of the day at 5pm on Wednesday, but when I left the meeting I encountered this wonder on a side street. I remember that the State of Maine had a 1% for Art program when I was a kid, where 1% of the budget for new public building had to be spent on art, apparently France had/(has?) something similar.

BAS-RELIEF

Paule Pascal 1965

ART INTEGRATED INTO ARCHITECTURE

During the construction of the Maison de l'Agriculture (House of Agriculture) in Nîmes in the 1960s, now the Hôtel du Conseil Départemental (Departmental Council Building), the architect Joseph Massota (1925-1989) commissioned artists as part of the "1% for Art" program. For this building, he collaborated with the ceramist Roger Capron for the ceramic mural at the entrance and the sculptor Paule Pascal for the bas-relief on the building's north facade. Two remarkable heritage works!

BORN IN 1932 IN MONTPELIER

DIED IN 2019 IN BEAUVOISIN

Paule Pascal began her training very young: at 15, she entered the École des Beaux-Arts in Nîmes, then joined the École des Beaux-Arts in Paris in 1954, where she studied in Marcel Gimond's studio until 1958.

Paule Pascal had a predilection for sculpture in architecture. Throughout her career, she remained faithful to the use of the light yellow stone from the Pont du Gard, which she worked in a style that was both brutalist and understated.

This work, emblematic of her art, is a monumental bas-relief sculpted in situ under the direction of architect Joseph Massota in 1965. On a wall approximately 26 meters long and 3.5 meters high, she engraved stylized motifs: vines, fruit trees, ears of wheat, and women harvesting grapes.

The relief is constructed with stone slabs of varying thicknesses, creating a subtle interplay of light and shadow depending on the viewing angle. This composition, both lyrical and rigorous, blends naturalism with a masterful geometric language inspired by the golden ratio, making the whole a veritable "stone lacework."

Her work continues to astonish passersby with its mixture of abstraction and naturalism and resonates with the work of other artists, notably the colorful mosaic created by Roger Capron, which begins in the main aisle of the Departmental Council building and continues into the entrance hall.

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I found this site about a walking arts project in Europe via Anna's link to the Anima Loci journal (under Writing Opportunities). It is fascinating exploring an area of practice I know so little about.

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I've recently been reading a very good writer on neurodivergence, Bridgette Hamstead, she's also an activist in the US at NeuroJustice. While this is specifically about late-identified AuDHD women (autism and ADHD), the discussion of ancestral family patterns, silences and what she calls 'epistemic repair' was something I wanted to share. It speaks to things I am circling around in my novel so I was very pleased to find it. I think we would say that the repair can also go backwards not just forwards...

Bridgette Hamstead

NeuroJustice™

'Every late-identified AuDHD woman has a family tree full of people who were never identified, and the silence around what those people were is the product of generations of families doing what families do when they don't have language for something: they explain it differently, they organize around it without naming it, they develop a set of shared narratives that account for the behavior without ever reaching the neurology underneath it. The grandfather who was brilliant and impossible becomes a character. The aunt who never quite fit becomes a cautionary tale. The mother who raged or withdrew or couldn't be reached becomes the reason the family is the way it is. The neurodivergence travels through the generations unnamed, shaping everything, explained as something else entirely.

The silence is maintained by several forces simultaneously. Stigma is one of them, the cultural association between neurodivergence and deficiency that makes naming it feel like an accusation rather than an explanation. Family loyalty is another, the implicit code that what happens inside the family stays inside the family's own interpretive framework and is not subjected to outside analysis. The absence of language is a third, because you cannot name what you have no words for, and for most of the twentieth century the words were not available in the rooms these families were living in. And then there is the protective function of the existing narrative, the story the family built to explain its difficult members, which is often load-bearing in ways the family doesn't fully understand until someone tries to revise it.

What breaks the silence is almost never a family conversation. It is almost always one person, usually a woman, usually in midlife, usually the one who was most affected by the unnamed neurodivergence around her and inside her, who gets the language first. The late identification is the crack in the silence. She gets the framework, and the framework is immediately and irresistibly retrospective, and she starts applying it to everything, to her own history and to the people in her family tree, and what she finds there is the neurodivergence that was always present and never named, expressed across generations through whatever channels the culture and the nervous system made available.

The family's response to her naming it tells you everything about the family system. Some families receive it as relief, as the explanation that finally makes the whole story make sense, and those families are capable of doing something real with it, of revising the narratives, of extending compassion backward to the people who carried the neurodivergence without a framework, of extending it forward to the children who are still young enough to have a different experience than the generations before them. Those families exist, though they are not the majority.

Most families receive the naming as a disruption. The narrative that explained the difficult grandfather and the impossible aunt and the mother who couldn't be reached was doing protective work for the people who built it, and the neurodiversity framework threatens that work by relocating the explanation. It takes the behavior that was attributed to character, to weakness, to pathology, and attributes it instead to neurology and to the structural failure of every system that surrounded those people without identifying or supporting them. That relocation is accurate and it is uncomfortable, because it asks the family to hold a more complicated account of people they have long since filed under simpler headings.

What the woman who breaks the silence is actually doing, whether she understands it this way or not, is a form of epistemic repair. She is restoring accurate information to a family history that was built on the inaccurate explanation available at the time, and she is doing it at personal cost, because breaking the intergenerational silence about neurodivergence in a family that built its self-understanding around the silence disrupts the system. It reassigns the accounting. It asks people who organized their understanding of themselves and each other around the old narrative to consider that the narrative was always incomplete.

What it gives the generations that follow, if the family can receive it, is something none of the previous generations had: the accurate explanation before the damage accumulates, the language before the self-concept is built around the wrong story, the framework before the years of trying to understand yourself through a lens that was never designed for your neurology. It is, arguably, the most significant thing the late-identified AuDHD woman who breaks the silence passes on, and it costs her something real to pass it on.'

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SUBMISSION FORMATS

We welcome submissions in the following formats:

academic research articles (6000-8000 words)

interviews (1000-3000 words)

book reviews (between 1500-3000 words). Please note that correspondence/suggestions/requests for reviews should be sent directly to reviews@www.maifeminism.com

creative writing (poems, short stories, creative responses, max 3000 words)

video essays (5-10 min + a brief supporting statement 800-1000 words)

photographs, visual/audiovisual or interactive art

Other types of submissions may be considered at the discretion of MAI editors-in-chief. Any questions regarding the format or type of your prospective submission should be sent to contact@www.maifeminism.com. Please read MAI Manifesto & The Journal before sending us your writing or projects. MAI only publishes work that fits into its feminist & visual culture remit.

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In our academic and creative work, we keep campaigning for gender equality and liberation of women from any form of political, social, cultural or discursive discrimination, be it visible or covert. Inspired by our patron, Swedish actor and film director, Mai Elisabeth Zetterling (1925-1994), we refuse to shut up.

MAI Manifesto

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MAI is dedicated to propagating feminism in today's global cultures. We publish creative and academic research in women in art and media.

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the stories behind different colours

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Storied Colors: named colors with documented histories.

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The Carrier Bag Theory of Fiction... (1986)

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Solastalgia is the emotional or existential distress caused by environmental degradation in your surroundings. Coined by philosopher Glenn Albrecht, it combines "solace" and "nostalgia". Unlike traditional homesickness, it describes feeling homesick while still at home, because your surrounding landscape has changed beyond recognition.

"To feel solastalgia is to feel pain, sorrow, and grief (from the Greek algos), but it is also to recognize that the source of this pain is our love for the places of which we are part."

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Mark Fisher, The Weird and the Eerie,

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I've just listened to a presentation by Noam Assayag. His book: Activating Cities is well worth an exploration.

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Such a simple word. Short, precise.

From the middle English clew, which meant a ball of thread or yarn. The modern definition of "a guide to solving a mystery" evolved directly from the famous Greek myth of Theseus using a ball of thread given to him by Ariadne, to safely navigate and escape the Minotaur's Labyrinth.

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“Hearken to the secrets I reveal and from them know and discern my aim”, wrote the Ottoman cartographer Piri Reis in his Kitab-ı Bahriye (Book of Seafaring). “It was with God’s guidance that it became my habit to roam the seas. And so it was: and were I to live forever I would always be at sea.”

Beautiful sea-faring maps layered with gold leaf.

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“Knowledge Is Infinite”: Manuscript of Piri Reis’ *Book of Seafaring* (ca. 17th Century)

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Piri Reis was a 16th century Ottoman Admiral famous for his maps and charts collected in his *Kitab-ı Bahriye* (Book of Seafaring), which contains detailed information on navigation as well as extremely accurate charts describing the important ports and cities of the Mediterranean Sea.

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Are you an artist who writes? Do you enjoy writing and thinking about art as much as you enjoy the process of making it? Passing Notes is seeking art-related writing for our upcoming issue.

We are accepting submissions in the categories of:

Reviews, Critical Essays, Short Fiction, Interviews, Non-Text Responses ( these should be direct non-text responses to an artwork(s) or approach to the categories listed), Poetry in Dialog with an Artwork, Crit Bits (250-500 words)

Issue 5 will be published digitally on Substack and our Website. In previous years we’ve produced printed issues, but this year are currently planning for a fully digital format.

Submission Guidelines:

- Length: up to 1,500 words (Crit Bits: 250–500 words) for text submissions.

- Please review the Submission Guidelines within the submission form for further details.

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Passing Notes-A Journal for Artists who Write

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Passing Notes-A Journal for Artists who Write

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Open Call - Passing Notes-A Journal for Artists who Write

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Passing Notes: A journal for artists who write.

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Stalking Horse Press will be open for new general submissions and for our new PonyXS imprint via Submittable on Friday May 15th at 8am MST!
We will occasionally commission work from authors we would like to publish.

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Stalking Horse Press will be open for new general submissions and for our new PonyXS imprint via Submittable on Friday May 15th at 8am MST!We will occasionally commission work from authors we would like to publish.

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https://docs.google.com/forms/d/e/1FAIpQLSfxaBRjGYSfq2zRyLoHFgXDGynkTUuSfvMvpxhlgz9DPoO5uA/viewform

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Atticus Review is a online literary journal. It was founded by writer and publisher Dan Cafaro as an offshoot of his independent press, Atticus Books, in 2011. Both Atticus projects were born in the eclectic college town of Madison, New Jersey. Since then, Atticus Review has traveled to Philadelphia and Arizona, and has come to rest in Denver, Colorado, under the stewardship of author and publisher, David Olimpio (This is Not A Confession, Awst Press, 2016).

For 14 years, Atticus Review has enjoyed a steady flow of creative collaboration between readers, writers, and the editorial team. Our website/magazine/newsletter has evolved in format and flavor, but our commitment to indie publishing, emerging authors, and great literature has remained steadfast. Our revolving staff of editors has curated, shaped, and posted the work of over 1700 contributors.

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For the August 2022 issue, Atticus Review is seeking creative work (stories, poems, CNF, mixed media) about the Internet. In this special themed issue, we're interested in the ways the advent of the Internet Age has influenced literature, altered our sense of being and sense of belonging, made us rethink connection and connectivity, and changed our daily lives. We're open to work that interrogates and celebrates contemporary online culture, and work that considers the intersections of digital technologies in our on and off screen lives.

Please submit 1-5 poems through Submittable. Simultaneous submissions are OK. We give serious consideration to every submission, whether or not we are familiar with the author's work, and respond as quickly as possible. Understand that this is a subjective business; if your work isn't selected, it's not the end of the world (though as writers ourselves, we understand that it can feel that way).

We are also especially interested in emerging writers. We define this as writers with fewer than five publications across all genres. If this applies to you, please note "New Voices" in your cover letter.

In terms of style, our bias tends toward lyrical narrative poetry, though we're definitely willing to read whatever - so long as it's your best work! In other words, think of your poems less as sermons and more as snapshots. They can be shocking, serene, heartbreaking, elegant, savage, narrative, surreal - or all of the above.

Here are some poets we like, just to give you another hint as to what we're looking for: James Wright, Tony Hoagland, Stephen Dobyns, Bob Hicok, Dorianne Laux, Sharon Olds, Mary Biddinger, Djelloul Marbrook, Charles Simic, Billy Collins, Jeannine Hall Gailey, James Valvis, Peter Davis, Elton Glaser, Rodney Jones, Allison Joseph, Donal Hall and many, many more.

What we DON'T like: poems that tell instead of show, that substitute shock value for depth or intellect for feeling, or that force a certain limited interpretation or philosophy on the reader rather than allowing the reader to come to their own conclusions.

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Thank you for your interest in publishing your work with Atticus Review. We are an online journal that publishes stories, poems, essays and other forms of creative digital mediaISSUE TWO THEME: THE INTERNET For the August 2022 issue, Atticus Review is seeking creative work (stories, poems, CNF, mixed media) about the Internet.

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Anima Loci is a visual culture journal focused on an interdisciplinary exploration of the relationship between images and the places they inhabit.

The journal hosts short articles and photoessays by academics and practitioners from a variety of disciplines.

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In 1964, British engineer Rod Rhys Jones set off to Antartica to conduct work for the British Antarctic Survey. Fifty years later, he found himself back there installing a monument to commemorate those who lost their lives in the pursuit of science within this harsh environment, including three of his own friends and colleagues. In this intimate, autobiographical piece, illustrated by the author's own paintings, Rhys Jones recalls that year, his impressions of Antarctica and the placing of this remote landmark.

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In 1964, British engineer Rod Rhys Jones set off to Antartica to conduct work for the British Antarctic Survey. Fifty years later, he found himself back there installing a monument to commemorate those who lost their lives in the pursuit of science within this harsh environment, including three of his own friends and colleagues.

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Someone linked to this on Mastodon today, apparently there was a trend to use Prussian blue when it was first introduced to China, resulting in a number of blue maps.

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An exhibition at the Leventhal Map & Education Center at the Boston Public Library

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Sobremesa is a magazine filled with art & writing about food. Named after the Spanish word for relaxing at the table together after a heavy meal, the magazine is meant to be a metaphorical sobremesa for artists. We hope reading it makes you feel as sated and surrounded by community as sitting at the dinner table with your loved ones does. Tabloid-size and lovingly printed in small batches on recycled newsprint, Sobremesa is what your coffee table needs.

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Blackbird, online journal of literature and the arts

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Blackbird, online journal of literature and the arts

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For over two decades, Blackbird: an online journal of literature and the arts has been one of the web’s premiere literary magazines, earning accolades and attracting an expansive readership for its diverse range of award-winning and emerging writers.

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Blackbird – An online journal of literature and the arts

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An online journal of literature and the arts

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fine print is an independent magazine cultivating critical and experimental discussion around contemporary art, both online and in shared spaces.

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fine print is an independent magazine cultivating critical and experimental discussion around contemporary art, both online and in shared spaces.

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We accept the following for consideration for publication in Fine Print: poetry, prose, essays, flash, fiction, comics, illustrations, and photography. We are open to submissions/ideas that are not listed above pending review by our selection committee. We do not publish unsolicited critical reviews of any kind but will certainly consider publishing critical articles in the areas of literary and cultural studies. We ask that all submissions be previously unpublished works.

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SUBMISSIONS WILL BE OPEN MARCH 1 — JUNE 1, 2026

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Red Hen Press is an independent, nonprofit press that publishes about twenty-five books of fiction, nonfiction, and poetry every year. We’re looking for novels, memoirs, creative nonfiction, hybrid works, essays, and poetry collections of exceptional literary merit that demonstrate a high level of mastery.

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Red Hen Press - LA's Oldest Nonprofit Literary Publisher

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Red Hen Press - LA’s Oldest Nonprofit Literary Publisher

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Red Hen Press is an independent, nonprofit press that publishes about twenty-five books of fiction, nonfiction, and poetry every year. We’re looking for novels, memoirs, creative nonfiction, hybrid works, essays, and poetry collections of exceptional literary merit that demonstrate a high level of mastery.

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The day after our last meeting where we discussed mapping, I was at an event event at our local community theatre, Le Périscope. The hour-long production by Marie and Clément was the culmination of a project to collaboratively map the city of Nîmes based around stories from current residents. They are from Marseille-based Compagnie TAC TAC and specialise in theatre of the object. The way they told/reenacted stories gathered from local residents along with more well-known historical facts using various items (spray bottle for underground water source, toy dinosaur for religious conflict etc.) was mesmerising and took place on a 'map' laid out on the stage floor with post-it notes and various household objects. I was sorry that only a relatively small audience was there to witness their creation.

I did a daylong workshop last year on theatre of the object with Marie and Clement and it was so good, even with my linguistic struggles. They were kind enough to tell me that my first tentative efforts reminded somehow of their Belgian mentor's work. Every time I encounter them and their work, I want to run away and join a theatre of the object troupe, fearing that I've missed my true calling. Below is a translation of the text from the page above - the event and resulting work is so close to what we were discussing I wanted to share it.

Event Details

“I’ve always loved maps and plans; they give me a wonderful feeling of immersion. When you live somewhere, daily life and habit make you lose sight of the inherent poetry of your surroundings. You no longer pay attention to the memory of this neighborhood.” – Marie Carrignon,

member of TAC TAC.

Clément and Marie from Compagnie TAC TAC, in partnership with Le Périscope, want to recreate a poetic map of the city of Nîmes.

To do this, they need your help, because what would a city be without the stories of its inhabitants?

They are therefore collecting your stories: a memory that took place in Nîmes, a happy or sad moment, a very personal or absolutely spectacular event.

Some ideas:

A walk in the city

A very old but vivid memory

Something that happened at school

An unforgettable weekend or vacation

An unusual encounter with someone or an animal

A unique dish, snack, or picnic

A historical anecdote

A building in the city that you particularly love

And anything else!

You can share your stories at Le Périscope on Wednesday, May 6th, from 2 pm to 5 pm.

By collecting the stories of Nîmes residents, we are awakening all these little individual memories and together creating a poetic map of the city.

To encourage a different perspective on these living spaces, to show

that a place is only as rich as its inhabitants.

You are therefore invited to Le Périscope (4 rue de la Vierge) on Wednesday, May 13th, at 6 pm to see the performance that will have emerged from this collection of memories and to see your city from a new angle.

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Le Périscope • théâtre à Nîmes • spectacles vivants

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Le Périscope • théâtre à Nîmes • spectacles vivants

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Cartographie Poétique : Projet participatif avec la Cie TAC TAC - Le Périscope • théâtre à Nîmes • spectacles vivants

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Cartographie poétique : En récoltant les objets des habitant·es de Nîmes et les histoires qui leurs sont liées nous réveillons toutes ces petites mémoires individuelles et dessinons ensemble une cartographie poétique du territoire.

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Loam Journal is an independent print publication bringing together stories, reflections, and creative work from those living in close connection with land and community. Rooted in place and guided by care and curiosity, it offers a space to pause and imagine how we might live thoughtfully with the world around us.

On submitting work

Submissions might move through observation, story, or experiment. We welcome work that thinks in systems, that sees relationships and entanglements, and does not shy away from complexity.

This might take form as:
- Observations of land, seasons, and ecological change
- Stories of food, farming, and growing
- Encounters with more-than-human life
- Practices, rituals, or ways of paying attention
- Grief, care, repair, and renewal
- Artistic or poetic responses to place

We welcome both long-form and shorter pieces.

Submit by email to isabel@loamjournal.com

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Loam Journal is an independent print publication bringing together stories, reflections, and creative work from those living in close connection with land and community.

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Whiting Nonfiction Grant for Works-in-Progress

The Whiting Nonfiction Grant for Works-in-Progress of $40,000 is awarded to writers in the process of completing a book of deeply researched and imaginatively composed nonfiction. The Whiting Foundation recognizes that these works are essential to our culture, but come into being at great cost to writers in time and resources. The grant is intended to encourage original and ambitious projects by giving recipients the additional means to do exacting research and devote time to composition.

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The Whiting Nonfiction Grant for Works-in-Progress of $40,000 is awarded to writers in the process of completing a book of deeply researched and imaginatively composed nonfiction. The Whiting Foundation recognizes that these works are essential to our culture, but come into being at great cost to writers in time and resources. The grant is intended to encourage original and ambitious projects by giving recipients the additional means to do exacting research and devote time to composition. Learn about the grantees below.

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UNSTAGED is a lens-based space for inquiries into comforting and discomforting authenticity. Positioned between visual culture and critical inquiry, it gathers visual artists willing to linger in the frictions and expose their ways of seeing. Founded by Arek Ratai, who works at the intersection of photography, design, and perceptual inquiry, he asks what still feels real when things begin to fail, and what remains of us when perception no longer holds together.

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OPEN CALL
Submit to the next issue. OPEN CALL
Submit to the next issue. OPEN CALL
Submit to the next issue. Privacy · Submissions · Cookies

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Call for proposals: https://humansandnature.org/book-manuscript-proposals/

The books branch of Humans & Nature Press is pleased to announce the 2026 call for proposals for single-author book manuscripts. For

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Making Kin is an online art exhibition exploring the visual dimensions of kinship in a more-than-human world. With work from 24 artists from around the world, Making Kin is in conversation with the themes-Planet, Place, Partners, Persons, Practice-that are central to the Center for Humans and Nature's five-volume book series, Kinship: Belonging in a World of Relations. The participating artists illuminate the deep connections between humans and nature while inviting us to consider how kinship practices and ethics can expand our sense of identity, as well as deepen our care and respect for other-than-human kin.

Making Kin is part of the Center for Humans and Nature's Kinship Project, which includes a five-volume book series, podcast, and ongoing events.

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Center for Humans and Nature | Center for Humans and Nature

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Making Kin is an online art exhibition exploring the visual dimensions of kinship in a more-than-human world. With work from 24 artists from around the world, Making Kin is in conversation with the themes-Planet, Place, Partners, Persons, Practice-that are central to the Center for Humans and Nature's five-volume book series, Kinship: Belonging in a World of Relations.

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contemporary magazine publishing daring and experimental writing intersecting the human experience, ecology, metaphysics and folklore

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The Winged Moon Literary Magazine | poetry magazine

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The Winged Moon Literary Magazine is an Online and Print Poetry and Art Magazine exploring nature, the unseen, myth.

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"Our next open submissions period will be from Monday, May 18 at 10 a.m. EST and closes at 10 a.m. EST on Friday, June 5 or when we hit our submissions limit.

SPRING OPEN SUBMISSIONS: Call for feminist genre fiction - sci-fi, horror, fantasy/romantasy, and speculative fiction.

We’re looking for novels, novellas, and short story collections that bring a literary depth and flair to genre fiction— specifically sci-fi, horror, fantasy/romantasy, and speculative fiction."

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Submissions Open!

Deadline 07.05.2026

Theme: Desire

Issue Two explores desire in its many forms as more than longing or attraction, but as something more complex.

Rather than presenting desire as something simple or romantic, consider it as something that abstract , that reveals, distorts, and at times consumes.

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The Metaworker, is looking for writing and art that offers a wide range of new perspectives, upends stereotypes and tropes, plays with form or style, or that otherwise surprises, challenges, or enchants. The pieces they publish may sometimes be a little rough around the edges but they enjoy them because they are one of a kind works. They accept any genre or style from people of all backgrounds.

Submission windows for 2026:
April 1 to May 31
September 1 to October 31

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Submission Guidelines - The Metaworker Literary Magazine

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We want new ideas, and work that won’t find a place anywhere else. Surprise us, show us something we haven’t seen before!

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Altars + shrines. Why do we create altars? And for who?

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maudlin

adjective

maud·​lin

1: drunk enough to be emotionally silly

… a mob of maudlin rummies … sing hymns …—Joseph Mitchell

would crack open another beer and become maudlin—Patrick Moore

2 : weakly and effusively sentimental

maudlin expressions of regret

The history of maudlin is connected both to the Bible and the barroom. The biblical Mary Magdalene is often (though some say mistakenly) identified with the weeping sinner who washed Jesus’ feet with her tears to repent for her sins. This association led to the frequent depiction of Mary Magdalene as a weeping penitent, and even the name Magdalene came to suggest teary emotion to many English speakers. It was then that maudlin, an alteration of Magdalene, appeared in the English phrase “maudlin drunk” in the 16th century, describing a weepy, drunken state. Nowadays, maudlin is used to describe someone or something that expresses sadness or sentimentality in an exaggerated way; however, the “maudlin drunk” meaning was so intoxicating that it stuck around and became the “drunk enough to be emotionally silly” sense still in use today, as in “after a few glasses of port he became quite maudlin.”

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Giovanni Girolamo Savoldo | Mary Magdalene | NG1031 | National Gallery, London

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Giovanni Girolamo Savoldo, Mary Magdalene, about 1535-40. Read about this painting, learn the key facts and zoom in to discover more.

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I was looking at your beautiful altars, the assemblage of objects brought together in various formations, and I was reminded of the work of Joseph Cornell.

Well worth an exploration if you don't know him.

Joseph Cornell (1903–1972) was a self-taught , shy American artist who lived a reclusive, solitary life in Queens, NY. He created intricate, miniature worlds inspired by travel, astronomy, ballet, and European history.

Assemblages of his longings and dreams. He collected his objects and images from junk stores, bins, flea markets, making each object sacred with attention and placing them into his fantasy worlds. (These assemblages now sell for millions of pounds!)

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This is my story Revision, which was accepted for an online women's SFF magazine called Luna Station Quarterly. The theme of that issue was anger and this seemed to fit.

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Just thought I’d share the view outside the theatre where my friend presented a stage reading of her new play “Mumsplaining” at the Riverside Studios today. 

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Word of the day: susurrant

| soo-SUR-uhnt | , adjective;

1. softly murmuring; whispering.

As in: This was our beginning, when the insistent squaw of seagulls crashing after urchins, susurrant grasses, and groggy frogs, the thin pitch, high pierce of insects was our music on any clear morning.

-- Christine Schutt, A Day, A Night, Another Day, Summer,

1996

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A made up word that I coined today to frame thinking around consciousness.

ANAMOSPHERE noun

From the Irish anam (soul, essence, animating presence) + atmosphere (from Greek atmos*, vapour, and* sphaira*, sphere) — the felt field that surrounds and emanates from a thing, place, or encounter; the vaporous sphere of soul.

That quality of presence in a room, a landscape, a made object, or a living encounter that registers before thought arrives — sensed in the body, the back of the neck, the chest — before words surface to name it. The anamosphere of a place is not projected onto it by the receiver, nor emitted independently by the thing itself, but co-created in the space of genuine meeting between a charged field and a receptive awareness.

Not everyone can receive it. Not everyone is willing to. It has always been this way. Those who can tend to find each other at thresholds — at dusk, at shorelines, in the thin places where the ordinary organising of consciousness loosens its grip and the filaments become sensitive again. To speak of anamosphere is not to speak of soul as theology, nor atmosphere as weather, but of that undefinable other — present, unmistakable, and stubbornly resistant to measurement.

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Haus-A-Rest

A zine shaped by artists, for the bold, the curious, and the uncompromising.

Haus-a-rest exists for the creatives who notice what others miss, who translate lived experience into striking images and fearless words. This is a space for the daring, the different, and the deeply authentic.

Each issue brings together work that resists the obvious, fresh perspectives, quiet rebellions, and art that moves without asking permission. We’re drawn to the unseen, the unfiltered, and the moments that linger.

Our Open Calls remain free and open to all.

They’re an invitation to share what’s been forming, to test new ideas, and to connect with a community rooted in curiosity and creative risk.

Step into the zine.
Let’s carry forward the voices that refuse to fade into the background.

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“Join a thriving online art zine, with an art community where creativity thrives. Explore open calls, view inspiring exhibitions, connect with writers & poets corner. A creative hub built by artists, for artists, to support artists worldwide.”

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The new cultural criticism magazine that cares.

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The Museum of Material Memory is a digital repository of material culture of the Indian subcontinent, tracing family history and social ethnography through heirlooms, collectibles and objects of antiquity.

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Dyonyzine Issue 06 — Second Helpings

Asian-American-founded creative arts magazine accepting submissions for Issue 06 themed around food — a meal is never just a meal. Accepting photography, visual art, drawings, paintings, digital illustrations, multimedia works, and more alongside poetry, prose, and essays. Open to all ages, backgrounds, locations, and experience levels. Volunteer-run, completely free to submit.

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Dyonyzine Issue 06 — Second Helpings - Monographica

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Asian-American-founded creative arts magazine accepting submissions for Issue 06 themed around food — a meal is never just a mea... Deadline: April 28, 2026.

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https://sarkapublishing.com/sarka-journal

Journal: Next submission: July 1st 2026. Poetry, Prose, Art etc. https://www.instagram.com/p/DWRlDHIlV9O/?img_index=1

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(en) AZADE LLIBRE [\ɑ.zɑ.dɛ\ ʎíβɾə] is a curatorial project dedicated to rare books.
A nomadic bookshop based on an independent and eclectic bibliography.

A conceptual look to cult images and the margins of 20th-century art and fashion history.

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Unearthed: Now Seeking Submissions

Unearthed is an online literary journal of environmental writing, published by SUNY College of Environmental Science and Forestry. They are looking for writing that, “offers insight and attention—be it long deferred or newly cultivated—to our complex relationships with our environments.”

They accept all forms of creative work—poetry, fiction, creative and critical nonfiction, photography, videos, and artwork. And though they accept submissions from all authors, they are especially interested in showcasing new voices. With that in mind, they encourage unpublished authors to submit.

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Unearthed is an online literary journal of environmental writing, published by SUNY College of Environmental Science and Forestry. They are looking for writing that, “offers insight and attention—be it long deferred or newly cultivated—to our complex relationships with our environments.”

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'Wild' deadline April 19th 2026

Slant’d models a new way of working, one where patience, care, and personal connection are graciously given. I feel proud to be a part of this world that Slant’d has so lovingly reimagined for AAPIs.”

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Thank you for your interest. We look forward to reading your work! Before submitting projects to us, please familiarize yourself with our editorial vision, guidelines, and FAQs, as they differ between publications.Slant’d is an independent publisher reimagining publishing to be more accessible, equitable, and joyful for Asian Americans and Pacific Islanders (AAPIs) everywhere. Built from the ground up by and for AAPIs, we partner with talented artists and writers to co-create make colorful and vibrant printed works that spark curiosity, introspection, and joy in children and adults.With an ethos that everyone has a story worth sharing, Slant’d is known for our radically inclusive editorial philosophy, people-first story development process, and our fierce commitment to helping AAPIs feel seen, heard, and loved—just as they are.Our publishing model—from application to development and publication—is designed to challenge the systems of traditional publishing and lower the barrier of entry for undiscovered creatives eager to share their stories with the world and ultimately creates new systems that aim to nurture a new generation of diverse storytellers.Note about our literary magazine: We do not accept unsolicited submissions for the literary magazine outside of the submission window. If it’s not listed below, then the window for the latest issue has passed. Sign up for our mailing list or follow us on Instagram to be the first to know when the next submission window opens.Slant’d is a registered 501(c)(3) nonprofit that is completely run by passionate volunteers. Please consider making a tax-deductible donation to help us build a creative home that empowers every AAPI to be the creator of their own story.

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Uncertain Stories exists to promote short stories, and we welcome short story submissions from both new and established authors.

We publish high-quality short fiction that takes place more-or-less here, more-or-less now, with a supernatural or speculative edge. If you aren't sure what that means, check out our debut anthology, Broken Ground.

If you'd like to submit work for potential publication in our anthology series, you can do so through our partner publisher The Fiction Desk.

The spring submission call is open now, with a deadline of Friday 29th May, 2026.

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Submissions information for Uncertain Stories

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How to submit new fiction to Uncertain Stories for potential publication.

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The Plentitudes is an international literary journal showcasing captivating fiction, nonfiction, poetry, and flash from diverse voices.

We believe in the power of writing—in its plentitudes of forms, styles, and modes of exploration—to move the spirit, shift the gaze, and offer new perspectives. Founded in New York City in 2020, we are truly global: our editors, reading board members, and contributors (and their stories) represent an international and multicultural blend.

​

Our editorial team carefully curates each issue to bring our philosophy to the page and to our avid readers. We are most excited by works that approach the human condition from a mix of critical and creative approaches and we support exigent narratives and counternarratives. We're a proud member of CLMP and we've partnered with EBSCO to include our pieces in literary e-journal databases. As a featured listee on Poets & Writers, Submittable and Duotrope, we aim to amplify emerging voices and add to the growing diversity and vibrancy of the literary community.

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Thank you for your interest in The Plentitudes, a quarterly international literary journal of prose and poetry.

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Deadline 4th May 2026. Call for Creative Non-Fiction Submissions: Lost and Found: Things Forgotten, Things Remembered.

Prairie Fire Press invites creative nonfiction on the theme of remembering and forgetting for our fall 2026 issue.

Our survival and growth have always depended on both. Memory helps shape who we are and how we understand our connection to others—personally, culturally, historically. Some memories bring comfort and joy; others are confusing, painful, even traumatic. Beyond individual experience, there are ancestral, familial, and collective memories that require unearthing, remaking, and re-examining. What has been buried? What has been reshaped over time? What needs to be remembered now, and what might need to be released?

We welcome work that explores the tension between holding on and letting go, and the ways remembering and forgetting shape healing, identity, and transformation.

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Call for Creative Non-Fiction Submissions: Lost and Found: Things Forgotten, Things Remembered - Prairie Fire

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Prairie Fire Press invites creative nonfiction on the theme of remembering and forgetting for our fall 2026 issue. Our survival and growth have always depended on both. Memory helps shape who we are and how we understand our connection to others-personally, culturally, historically. Some memories bring comfort and joy; others are confusing, painful, even traumatic.

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I was thinking about the word crucifixion because of the Easter rituals. Despite its meaning, it has a lovely complicated feeling in the mouth when you say it. From Late Latin crucifixiōnem, derived from cruci figere, the word entered Middle English via Old French, literally meaning to fasten to a cross, a method of torture and execution.

The word "excruciating" literally means "out of the cross," referring to the intense anguish of the process.

Yesterday I was remembering Good Friday rituals as a child. The quiet intensity of moving through the Staions of the Cross. We would gather as a small crowd, and shuffle from painting to painting pinned high on the church walls. I remember the ache in my neck from looking upwards, the sniffle of people behind their hankies, the smell of incense, the splash of holy water on my cold skin, the flash of the priest's red vestments. Red the colour of passion, blood, martyrdom.

Good likely comes from God's Friday. But Friday is Freya, or Frigg's day - the Norse goddess associated with love, fate, and death.

And the Stations of the Cross could easily be walking the labyrinth or the spiral path. Each station a crossing of a threshold. The body moving through states of grief to emerge into Spring (the resurrection on Easter Sunday).

And then of course you have the Good Friday Agreement, signed in 1998. I'm guessing a deliberate choice of date to capture the symbolism, a day of rupture, of something dying, before the possibility of resurrection.

Oh and Easter / Ēostre is believed to come from the Anglo-Saxon goddess Ēostre (or Ostara in Germanic tradition) — a dawn goddess of spring and fertility. Eggs and hares are her symbols. The Church conveniently absorbed the timing of her festival. Whether she was "real" or a folk memory is debatable, but the seasonal logic holds regardless.

Happy Easter.

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Could you be overlooking something right before your eyes?

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Could you be overlooking something right before your eyes?

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The title above was a writing prompt from earlier in the year. I remembered it when moving from one phone to another - the resulting transfer of data forced me to look at the huge number of digital notes I've taken in recent years. There they were, sitting silently on my phone, full of details that would be incredibly useful for my writing. Not until Android dumped them chaotically into the Keep application (all with the same date - April 1 - the day of the transfer, helpful!) was I reminded of what a rich resource I'd created without really meaning to. Of course it is a little bit of an emotional minefield so I'm taking my time going through them.

The illustration above is from a resource I used to use often but had almost forgotten about, Flickr Commons. Institutions from around the world deposit copyright-free images there, and it is amazing what you can find. commons.flickr.org

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A college friend that I got to spend time with in London in September, after many years on opposite sides of the Atlantic. The first place we went was Kew Gardens.

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Another John Koenig that I love:

lilo

n. a friendship that can lie dormant for years only to pick right back up

instantly, as if you’d seen each other last week—which is all the more

remarkable given that certain other people can make every lull in conversation

feel like an eternity.

From lifelong + lie low. Pronounced “lahy-loh.”

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Anemoia, coined by John Koenig in 2012 - Nostalgia for a time you've never known; for a time outside of our own time.

Oneiric anemoia — nostalgia for a time or place that never existed and will never exist, triggered for instance by dreaming, where places and scenarios take on an aura of specialness that you then grieve on waking.

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Looking at old photos, it's hard not to feel a kind of wanderlust. A pang of nostalgia, for an era you never lived through. Longing to step through the frame into a world of black and white, if only to sit on the side of the road and watch the locals passing by.

These are people who lived and died before any of us arrived here. Who sleep in some of the same houses we do, and look up at the same moon. Who breathe the same air, feel the same blood in their veins-and live in a completely different world.

It's a world still covered in dust from the frontier. A world of adults, whose lives are hammered out by hand. A world of front porches, of fires to light in the evening, of conversations over a fence. You'd feel the energy of the boulevards teeming with crowds, gathering to tell dirty jokes, awaiting news reports, or crisscrossing at random, just barely dodging the horses. You could hear the voices of hardscrabble homesteaders, calling in their children for their one and only family photo. Or look around at the architecture of the old city, whose ornate limestone canyons fade back into a ghostly haze, dotted here and there with people lounging in the windows, trying to escape the oppressive summer heat.

You'd watch as they carry on with their lives, that seem so important. Trying to read their faces, or look into their eyes, so piercing and otherworldly, their gaze fixed elsewhere. They have no way of knowing that their story has already been written. If only they could look around the way you could, they could relax and soak in the atmosphere of the moment.

Of course, to them, it wasn't all flickering silence and grainy black-and- white. They saw vivid color rushing by in three dimensions, heard voices in deafening stereo, confronted smells they couldn't escape. For them, nothing was ever simple. None of them knew for sure what this era meant, or that it was even an era to begin with. At the time, their world was real. Nothing was finished, and nothing was guaranteed.

That world is now gone. If the past is a foreign country, we're only tourists. We can't expect to understand the locals or why they do what they do. We can only ask them to hold still, so we can capture a photo to take home with us. So we can pretend to ourselves that we've learned anything at all about who they were, and what it was like to live in another time.

The photo itself means very little, in the end. Maybe all we ever wanted was the frame. So we could sit for a few minutes in a world of black-and- white, with clean borders that protect us from the rush of time. Like a tide pool just out of the reach of the waves-so clear and still, you can see your own reflection.

Ancient Greek ἄνεμος ( ánemos), wind + νόος ( nóos), mind. Compare anemosis, which occurs when a tree is warped by strong air currents until it seems to bend backward, leaning into the wind. Pronounced "an-uh- moi-uh."

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Anemoia - The Dictionary of Obscure Sorrows

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Nostalgia for a Time You Never Experienced

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man climbing gangway to board a Pan Am plane

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I thought I'd share the short bit of writing that I did in response to one of Anna's Walking Away images.

It’s early July 1965, and Fred is leaving from Pan Am’s Worldport at JFK. As he approaches the plane, a young woman in a smart pink outfit asks if the photographer next to her can take his photo as he boards the plane. She says they’re from an ad agency doing a campaign for Pan Am. He wishes he’d worn his other suit - this one is wrinkled - but he wants to help out so agrees. She writes down his information on her clipboard, then wishes him a pleasant flight. She seems a little stressed, like it might be her first day of work. She reminds him of his niece Nancy, his brother’s girl out in Oklahoma. He’ll have to send her a postcard from Europe. At least he remembered to have his shoes shined this morning.

Climbing the stairs, nicely balanced with a matching suitcase in each hand, he’s surprised to find himself moving rather energetically, almost bounding up the metal stairs. Maybe it’s to impress the girl he thinks, laughing to himself. He was at the Pan Am building until the early morning hours, trying to diagnose that bug that’s been plaguing PANAMAC. He finally fixed it at 2AM, and was able to get a little sleep at the hotel. Now he’s heading to Europe for a much needed vacation. What’s the point of earning all that money on the Pan Am support contract if he doesn’t enjoy it? He’s never seen Paris, and he can’t wait. He took advantage of his time on PANAMAC to look up some good French restaurants, they’ve got a bunch of information about their destinations on there. He’s a little nervous about flying, always has been, but the motto cut into the side of the gangway reassures him: World’s Most Experienced Airline.

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This is a review of a book I mentioned at one of our sessions, Bindlestiff. I like its time-shifting narrative technique - part of it takes place in 2036 - and also Holloway's vision of a US where Indigenous People have retaken some of their land. If you can face any more US dystopia over and above what we see on our screens daily, I do recommend it, it's one of my favourite recent reads.

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Review | Bindlestiff by Wayne Holloway - The London Magazine

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2036. In a ramshackle, backwater United States, Marine Corps vet Frank Dubois journeys from L.A. to Detroit, seeking redemption for a life lived off the rails, in a country derailed from its own manifest destiny. In present day Hollywood, a wannabe British film director hustles to get his movie ‘Bindlestiff’ off the ground starring ‘Frank’,…

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Not a book but a short story - wanted to share this with you all, would be happy to hear your feedback and reactions

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Irish flags and Union Jacks on the streets of Nîmes, in honour of the British and Irish film festival happening now

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THRESHOLD noun

From Old English therscold, therscwald — the piece of stone or timber at the bottom of a doorway, over which one steps.

Often debated: thresh, to tread, to beat grain from its husk — suggesting the threshold was literally the place where grain was threshed, or trampled underfoot and separated from the hull.

The second element wald relates to wood, forest, the wild. So embedded in the word is both the domestic and the untamed — the place where the cultivated and the uncontrolled meet.

The Latin equivalent is limen — the threshold stone, the lintel, the sill. From limen we inherit liminal (of or belonging to the threshold), subliminal (below the threshold of consciousness), and eliminate — literally ex limen, to cast beyond the threshold, to put outside the door.

The Roman god Janus was Ianus Liminalis — guardian of the limen, of all doorways, passages, and beginnings. He was invoked before every other god because nothing could begin without first crossing a threshold. His two faces — one looking back, one forward — were not a symbol of indecision but of complete presence at the crossing point, holding both directions simultaneously.

The Indo-European root *ter- carries the sense of crossing over, rubbing through, passing beyond — the same root that gives us through, thorough, trans-, and traverse. To threshold is to pass through by friction, by wearing away, by the slow work of repeated crossing.