The Quilliad Press’s Second Annual Chapbook Call

logo roundToday begins our second annual chapbook call!

We’re looking for 10-20 pages of poetry and/or flash fiction from a Canadian writer who has never had a chapbook or full-length book published (self-published authors are exempt from this restriction, as this restriction is in place to allow emerging writers without publisher representation an opportunity to become a more active part of the Canadian literary scene). Previous Quilliad contributors are welcome to apply.

We will be paying a $50 honorarium to the selected writer as well as providing the author with 5 copies of their book free of charge (subsequent copies can be purchased by the writer at half price). We will also consider poems from the submitted manuscripts of 2 runners-up for issue 9 of The Quilliad. Publication in The Quilliad will be compensated with an honorarium and contributor copy.

To submit, send your writing to thequilliad@gmail.com by January 15, 2017.

Issue 8 Submission Call: Halloween 2016

logo roundWe’re seeking writing and art for our October issue! Literary science fiction, apocalyptic stories and poetry, retold/re-imagined fairy tales/folklore/myths, horror, and other spooky, speculative, or macabre work. If you are a Canadian writer or artist, submit your work to thequilliad@gmail.com from September 1-30.

Please read the details regarding submission format and length at thequilliad.wordpress.com/submissions before sending us your work; feel free to email us with any questions.

The Quilliad Reviews: Ginger Ko’s Motherlover

motherlover

Feathers stuck beneath your eyelids     don’t you dare rub them
Or you’ll spark your dry mind     on fire

“Starve the Beast”

Reading Motherlover, it’s clear that the speaker’s mind is alight. The voice is bold and in your face; the voice of a woman taking up space. Unexpected twists of language give energy to the poems: “Guts lined with wet fur that had never seen light” (from “Gaslight”); “The ground is softening: raising up the smell of offspring and ghosts.” (“Easter Egg”) The text is daring, purposefully so: “What would you do to my resting bitch face” (from “Gaslight”).

The first section, “Gaslight,” is straightforward, harsh, sometimes accusatory, combating the foggy, anxious experience of being the victim of gaslighting. The book as a whole embodies a struggle between love and selfhood, often reflecting on the challenges of being a woman with strong feelings and opinions while simultaneously having to live in relation to others:

No one ever listens when they ask
Except later when they crash into my words
And think they’re listening to themselves
I’m a daughter and used to remaining unmentioned

“Stay Away from my Windows No One is Welcome”

Much of the final section of the book, “Prairie Lighthouse,” remains difficult for me to parse. The lines sometimes feel haphazard, and many images feel either too personally specific or too abstract for me to connect to. But these poems are not without power, similar to, though structurally more wayward than, what came before.

There is still something radical and brave about unflattering honesty, and in a sense also a frank beauty to the vulnerability of statements like the opening lines of one of Ko’s “Night Signatures”: “My self-sufficiency has disappeared. I pick up five-dollar pulp books / when I buy cigarettes and I read them at home / in front of television talk shows.” There is so much evoked in these lines, a combination of loneliness and not giving a fuck that’s poignant and refreshing. The emotionality of the text is unapologetic; the cleverness of the lines is tempered by emotional depth.

I will not pretend to understand all of Motherlover. But what stays with me and touches me is liberating, a vulnerable voice speaking honestly of heartbreak and rebellion.

Chapbook Launch and Quilliad Retrospective

Too impatient to wait for issue 7? You’re in luck. We’re releasing our first chapbook at the end of the month! Come out to Betty’s on King in Toronto (240 King Street East) on Thursday, March 31, 2016 between 7 and 11 p.m. for our chapbook launch and journal retrospective. Hear readings from Geoffrey Nilson’s We Have to Watch, as well as performances by past contributors to The Quilliad, all of whom we liked enough to publish twice (or more!). We’ve also invited writers and artists from past issues to bring their work for the merch table, so there will be lots to look at. You can find the Facebook event here: https://www.facebook.com/events/522313971227071/

The Quilliad Reviews: Awful Baby by Mary Lou Buschi

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You can find Awful Baby at http://www.redpainthill.com/#!mary-lou-buschi/skyvj. Image credit Red Paint Hill Press

Awful Baby is a dark book, but it would be flippant to simply call it sad. There is too much wit and craft here for that. This book is rich with strong images that shift between dreamy impressions and crisp, haunting memories. While these images are often quite specific, they draw the reader in. At times, reading this collection feels voyeuristic, as the speaker lets us in to her world, allowing us to see both her family’s love and their grief; at others, she holds back, allowing emotion to seep through the cracks in a seemingly calm and practical exterior.

Mary Lou Buschi has constructed a portrait of family life and childhood and used the powerful impressions made by both to explore the ways our upbringing and our identity intersect, as well as to explore the effects of loss. The normal becomes grotesque, both through the memories of pain experienced by the speaker’s family“To put up a tree means the family is well, happy”and through the surreal instructional poems such as “Today’s Objective,” “Purple Math,” and “Rounding.” Another such poem, “Beauty School,” shifts between practical advice (“Start at the temple, knead the skin with your index and middle fingers in a cross skating motion”) and eerie suggestions (“You will need to recant each bone before cutting her cuticles”). Whether she is examining our social rituals or showing us how our interpersonal memories form our sense of family (Tell me again about the time you shook me awake to make sure I was still breathing”, from “I hate and I love”), Buschi manages to both evoke emotion and offer psychological insight.

In “Mirror Box,” Buschi asks, “If a family is a body/how does the brain/deal with a missing limb?” This collection is a love letter and a study of how the parts of a family grow apart and together, and how our memories persist as we do, living with us whether we like it or not.

Our Chapbook Call Ends Sunday Night!

Just a reminder to everyone that our chapbook call is nearing its end, but there’s still time! Send us your work before midnight on Sunday if you’d like you poetry or short fiction to be considered. See below for guidelines.

We’re looking for 10-20 pages of poetry and/or flash fiction from a Canadian writer who has never had a chapbook or full-length book published (self-published authors are exempt from this restriction, as this restriction is in place to allow emerging writers without publisher representation an opportunity to become a more active part of the Canadian literary scene). Previous Quilliad contributors are welcome to apply.

We will be paying a $50 honorarium to the selected writer as well as providing the author with 5 copies of their book. We will also consider poems/flash fiction pieces from the submitted manuscripts of 2 runners-up for issue 7 of The Quilliad. Publication in The Quilliad will be compensated with an honorarium and contributor copy.

To submit, send your writing to thequilliad@gmail.com by December 13, 2015.

The Quilliad Reviews: Oregon Pacific by Nancy Slavin

imageSlavin’s collection is a tribute to the coastits histories, day-to-day dramas, and the power of the ocean. Nature is powerful here because of its adaptability, despite our interventions (and even invasions). Waves overwhelm the hapless road in “After the Storm”, while in “Landowner”, mold and mildew bloom in the speaker’s office. Our domination of nature is questioned, both its wisdom and its truth, and the relationship between the natural world and civilization is investigated throughout the collection. This relationship shifts many times, but it remains the focus.

Ultimately, nature mostly knows best in Oregon Pacific. In “Cape Meares Lake”, human industry is valuable in relation to its harmony with nature“I know you are man made / but some good has come of that”, while “Blues for the Birds” compares the complexities (and, it seems, foolishness) of human society with the straightforward instincts of birds. In “Cape Lookout”, as in many other pieces throughout the collection, nature is the setting for a spiritual quest. The speaker is in an in-between space, “[her] soul / again at that time of dusk where shadow meets shape”, her internal spiritual world mingling with the physical world, just as the civil connects with the natural. The speaker “walks the whole trail” in more ways than one, her “trial by fire” an emotional and spiritual journey as well as a walk amongst the trees, until “an ember of sun burns the tops of the evergreens [ . . . ] for that one brief joyous moment.” As occurs elsewhere in Oregon Pacific, this joy belongs to her and the natural world around her. Nature’s many incarnations are characters in themselves, often imbued with some level of pathetic fallacy, engaging in varying ways with the speaker’s emotions. Nature is a constant referent for the speaker, even when she is at odds with the natural rhythms of the world: “I am at the end of a cycle, / though it is summer, a world within me / dies.”

The collection is unified by its subject matter, with both formal and freeverse poems sitting side-by-side. Slavin moves mostly effortlessly between forms, though some rhymes are slightly singsong. This intense focus on the coast and the humannature relationship can sometimes make the poems within the collection blur together. Yet this strict attention, when combined with Slavin’s eye for details and the precision of her language, also renders the flora, fauna, and landscape within her poems whole and real with fresh images and loving specificity. One of my favourite pieces in the collection, “Communiqué“, offers this depiction of crows taking flight: “The flap of wings taps in one dark / hearbeat against the pale white sky until / the birds splinter apart, like buckshot spent / in all directions.” “Urchins” provides a similar level of insight into the space between land and sea: “Urchins, anemone, starfish, and mussels / at low ebb wait, exposed. Scarlet tendrils, / mouths chartreuse, clustered in colonies / bound together.” Overall, the reader is left with a strong sense of place and the intensity of the impression that the North Oregon coast has left on the poet.

Sarah

Chapbook call

Following the success of our Kickstarter and our sixth issue of The Quilliad, it’s time for our first-ever chapbook submission call!

We’re looking for 10-20 pages of poetry and/or flash fiction from a Canadian writer who has never had a chapbook or full-length book published (self-published authors are exempt from this restriction, as this restriction is in place to allow emerging writers without publisher representation an opportunity to become a more active part of the Canadian literary scene). Previous Quilliad contributors are welcome to apply.

We will be paying a $50 honorarium to the selected writer as well as providing the author with 5 copies of their book. We will also consider poems from the submitted manuscripts of 2 runners-up for issue 7 of The Quilliad. Publication in The Quilliad will be compensated with an honorarium and contributor copy.

To submit, send your writing to thequilliad@gmail.com by December 13, 2015.

Kickstarter Success and the Future of The Quilliad Press!

Hello, readers!

I am excited to announce that our Kickstarter was a success, so you’ll be hearing a lot more from us! Thank you to everyone who backed us and shared our project link! We are so grateful.

Now that the Kickstarter is over, we have a lot to do. We’ll be sending out reward surveys, finalizing the lineup for issue 6, working on layout, writing poetry rewards, making Kickstarter reward chapbooks, and more! But we’re also taking some time to celebrate. If you’re in Toronto on Thursday, October 29, drop by Betty’s at 240 King Street East between 7:30 and 11 for readings, art on display, our book table, and good conversation. Our launch party is also a costumed event in honour of Halloween (also, to be honest, we are in favour of any opportunity to dress up). Follow the link for the Facebook event: www.facebook.com/events/1501141953517791. $5 cover includes a copy of issue 6!

Speaking of issue 6, we’ve also picked a cover image! “The Light” is the work of Stephanie Kenzie, an illustrator whose work we’ve admired for years:

"The Light" by Stephanie Kenzie, cropped for the issue 6 coverBetween a successful Kickstarter for our press, the upcoming release of issue 6, our planned book reviews and artist profiles, the approaching launch of our online store (not to mention our current presence on store and library shelves in Toronto!) and our soon-to-be-announced chapbook submission call, 2015 is turning out to be a very busy–and wonderful–year for us.

Thanks for reading,
Sarah Varnam,
Editor-in-chief and founder of The Quilliad Press.

The Quilliad Press Kickstarter Reward Highlight: Issue 6

With our Kickstarter down to its last few hours (it ends on Tuesday at midnight EST!), we’re highlighting one of our most important rewards: copies of issue 6 of The Quilliad, to be released just in time for Halloween.

The Quilliad is a biannual Canadian journal of writing, art, and everything in-between. We believe in being open-minded and inclusive of different media and genres, and we care more about quality than form. For these reasons, our October issues are Halloween-inspired. We hold the writing and art to the same standards as usual (and we’re pretty picky), but we feature literary science fiction, apocalyptic fiction, magic realism, revised fairy tales, and poems about the undead, as well as seasonally appropriate and horror-inspired art and photography. Here are a few short excerpts from some of our early acceptances:

We also believe in creating a supportive community for our contributors and for other small presses, as well as writers and artists in general. For these reasons, we not only pay our contributors for their work but also post artist profiles and project spotlights, small press book reviews, and coverage of local artistic and literary events here on our blog. We will be adding another page to our website as well that will answer the question “Where are they now?” regarding past contributors to our journal. There, we’ll celebrate contributors’ post-Quilliad publications, exhibits, and other projects.

As of writing this blog post, we’re only 2% away from our funding goal, and every little bit helps. In addition to copies of The Quilliad, we’re offering personalised poetry on demand, art prints, and chapbooks to our backers. Check out our campaign at www.kickstarter.com/projects/1765917797/the-quilliad-press-and-issue-6.

Edit: We’ve reached our goal! Now we’re working on our stretch goals. So exciting!

Thank you so much to everyone who has supported us thus far.

—Sarah Varnam,
Editor-in-Chief and Founder of The Quilliad Press