Publications

Our Lands: North Dakota Quarterly (2024)

  • Spring / Summer 2024 | Volume 91, Numbers 1/2

    NDQ is a literary and public humanities journal whose roots extend back to the early days of the University of North Dakota. Past contributors include Louise Erdrich, N. Scott Momaday, and former U.S. President Jimmy Carter.

  • William R. Caraher, associate professor of history at the University of North Dakota, is coauthor of The Bakken: An Archaeology of an Industrial Landscape.

  • Issue: Spring / Summer 2024 | Volume 91, Numbers 1/2

    University of Nebraska Press

Her Body, The New World: The Pinch Journal (2024)

  • Issue 44.1 (Spring 2024) includes:

    Contributors: Mark Abdon, Christine Barkley, Havilah Barnett, Ellie Black, Daniel Brennan, Rachel Chapman, Amanda Chiado, Willy Conley, Amy DeBellis, Kellie Diodato, Jean-Marc Duplantier, Joshua Effiong, Michael Emerald, Jennie Evenson, Casey Fisher, Ariel Francisco, Dane Gebauer, Alex Gullis, Mary Gunning, Caitlin Gunthorp, Cover Art Guy, K Janeschek, Tracey Knapp, Funfere Koroye, Katrina Leggett, Jim Marino, Lucy McBee, Patrick Meeds, Skyler Melnick, Devin Murphy, Talor North, Zack Osborn, Lexi Pandell, Aimee Parkison, Ana Prundaru, Jennifer Pullen, Craig Reinbold, Paul Riker, Mack Rogers, Amanda Scott, Shyla Shehan, Sue William Silverman, Garrett Stack, Ivan Suazo, Rachel Sussman, Nora Thomas, William Varner, Irene Villasenor, Patrick Wilcox, Nicholas Wong, Yance Wyatt

    Editor-in-Chief: Courtney Miller Santo

    Managing Editor: Liberty O’Neill

    Online Managing Editor: Mia Day

    Development Director: J. Clark Hubbard & Victoria Brown

    Senior Editors: Emily Binkley, Joshua Carlucci, Victoria Deckard

    Editor: Bayo Aderoju

    Art Editor: Lily Kate Anthony

    Event Coordinator: Sabrina Spence

    Editorial Assistants: Marissa Corleone, Bethany Datuin, Aether Henry, Obiageli Iloakasia, Denise Kerlan, Alana King, Marilyn Jackson, Gloria Odary/Mwaniga Minage, Chelsea Panameno, Sam Williams

    Readers: K.M. Hardwick, Mocha Hunter, Chryschel Moore, Oliver Tomann, Jacob Williams

    Editorial Board: Mark Mayer, Niles Reddick, Eric Schlich, Emily Skaja, Kendra Vanderlip, Marcus Wicker

    Cover Art: Zach Osborn - MOODTRACKER

  • Founded in 1980, the Pinch is a literary magazine run by the graduate students and faculty of the University of Memphis. We publish two print issues each year and our website regularly features prose and poetry in PJO, our online sister publication.

    Our name derives from a community of immigrants who settled on the outskirts of downtown Memphis. Like us, they were a scrappy bunch who took the insult about their starving “pinched guts” and turned it around—learning not only how to make do in a pinch, but to thrive. Memphis is a city of intersections on the edge of the storied Mississippi River. We’re a commuter school in the middle of one of the few majority-black cities in America. We publish work by writers who are starving for literary community, for recognition, and for a way in.

    Prior to 2005, the Pinch was published as River City and the Memphis State Review.

  • Courtney Miller Santo is the author of two novels, THE ROOTS OF THE OLIVE TREE and THREE STORY HOUSE, both published by HarperCollins. Translations of these works were published in German, Italian, Hungarian, Korean, Dutch, Spanish, Polish, Turkey, and Slovenian. In addition to her novels, her essay, “If/Then” was published in the Best American Essays 2023. Other essays and poetry have appeared in the Los Angeles Review, Swing, The Missouri Review, New Letters, Third Coast and elsewhere. Additionally, her work has been an Amazon Breakthrough Novel Award Semifinalist, won the Memphis Magazine Fiction Contest Grand Prize, been nominated for a Whitney and placed in the Porter Fleming Literary Contest. In 2018 the University of Memphis awarded her the Alumni Association Distinguished Teaching Award. She is the Editor-in-Chief of the Pinch.

    Liberty O’Neill: Liberty is an MFA candidate at the University of Memphis where she is writing a novel while working for the university's Pinch journal literary publication. She has had work published with Thread Literary Inquiry and Tampa Bay Parenting Magazine in addition to self publishing creating zines on the side.

  • Issue 44.1 (Spring 2024)

    Purchase issues via Submittable

    Or contact me for one copy available for sale.

Escape from Small Towns: Sheepshead Review, A Journal of Art & Literature at University of Wisconsin - Green Bay (2023)

  • Sheepshead Review is published in print each late Fall and Spring by students of the Sheepshead Review Student Organization, as well as the class, English 324. They publish new, emerging, and established artists and writers from all over the world.

  • Fall 2023 Issue

Steps to Becoming You, Me, Mine: Witness, A Magazine of the Black Mountain Institute (2023)

  • Editor’s Note:

    “We live to collect experiences, not things.” Whenever I hear that familiar saying, I’m reminded of the preciousness and elusiveness of the present moment, but at the same time, I’m humbled and frustrated by it. Time continues to pass no matter who is chasing it. What we are really collecting is memory, and the act of remembering is our attempt at breaking the boundary of time. Based on the past, memory writes and rewrites our present and the future.

    The cover art we feature is a painting by the late artist Rita Deanin Abbey called “Memory,” selected for this issue. Even though the writings we have curated are not themed, collectively through echos, the thread of memory has emerged to connect the pieces. Among the many pieces we share and celebrate here, you will find a constellation of work that speaks to personal wrestlings and re-negotiations of belonging and displacement, communication and misunderstanding, hurt and hope, coming-of-age and aging, and more. In addition, we bring to you some of the finalists from our last annual contest, the 2023 Witness Literary Awards.

    In this issue, we also have two special sections, a section of dedication letters and an art section, because of its unique timing. Two important figures of the magazine, Peter Stine, the founding editor of Witness, and Carol Harter, the founder and former Executive Director of Black Mountain Institute, passed away during the production of this issue. It is impossible to compress Stine’s and Harter’s incredible work over the years in two short letters, but by including those letters, we hope to pay respect to their foundational and essential role and all the writers, editors, and readers they had touched. Meanwhile, this online issue also marks the first time we’re collaborating with an outside venue, Rita Deanin Abbey Art Museum in Las Vegas, which opened in 2022, one year after the artist’s death. The exceptionally wide range of time periods, mediums and forms of Rita’s legacy is proof of the splendid life of a prolific and passionate artist. In a sense, this issue is a threshold: step through, you will find many memories of others to make you think and feel; and when you return, we hope the memory of this issue will give you inspiration, strength, and light as you keep going to create memories of your own.

    – Xueyi Zhou

  • Mission: Witness seeks original fiction, nonfiction, poetry, and artwork that is innovative in its approach, broad-ranging in its concerns, and bold in its perspective. The magazine blends the features of a literary and an issue-oriented magazine to highlight the role of the modern writer as witness to their times.

    Our mission is to amplify extraordinary voices, feature writers from every part of the globe, and highlight pieces that speak to the present moment in an enduring and distinctive way. The magazine seeks to open up conversations surrounding oppression and transcendence, prejudice and compassion, fear and raw honesty. The editorial team is also proud to feature the work of emerging voices alongside that of established writers.

    History: Founded by Peter Stine in Detroit in 1987, the magazine is best known for showcasing work that defines its historical moment; special issues have focused on political oppression, religion, the natural world, crime, aging, civil rights, love, ethnic America, and exile. The issues “New Nature Writing,” “The Sixties,” “Sports in America,” and “The Best of Witness, 1987 – 2004” eventually appeared as university press anthologies.

    In 2007, Witness moved to the Beverly Rogers, Carol C. Harter Black Mountain Institute at the University of Nevada, Las Vegas. The magazine now publishes one special print issue and one general online issue each year and increasingly seeks out work that contextualizes the writer’s experience by highlighting issues of global concern.

    "[Peter] Stine achieved his goal of building a reputable magazine that affected the literary landscape, and his work at Witness was recognized and celebrated widely. “Peter was far ahead of his time with his passionate focus on social justice,” says Jane McCafferty, a writer and friend. “He had his eye on class, race, gender, and the environment long before it was fashionable. He also had a deep appreciation for the hard-won emotional truths that fueled not only the countless writers he so generously championed, but also what he himself created as a writer.” In a 2001 letter of support, the National Endowment for the Arts praised Witness as “publishing the literary work which will define for future generations the contours of life in America in the early portion of the 21st century.” --- From The Power of Naming

  • Xueyi Zhou was born and raised in Foshan, a city of manufacturing in Guangdong, China. After she earned a BA in Translation and Interpreting from Shanghai International Studies University, she returned home and worked in a stainless-steel company. English writing pulled her out again and dropped her into the US deserts, where she is pursuing her MFA at UNLV. Her fiction has appeared or is forthcoming in  AGNI, Guernica, Waxwing,  Passages North,  Chestnut Review, Atticus Review, Tahoma Lit Review, AAWW The Margins, Best Small Fictions 2022 and more. She was a finalist in 2022 Black Warrior Review Flash Contest and was shortlisted for the winter Oxford Flash Fiction Prize 2023. Her poetry has appeared  in BOOTH (runner-up of 2022 Beyond the Margins Prize) and Frontier Poetry. Her writing has been supported by Lighthouse Writers Workshop and Kenyon Review Writers Workshop. She is Editor at Witness and Prose Reader at Chestnut Review.

  • Witness Vol. XXXVI No. 2 – Winter 2023

    Steps to Becoming You, Me, Mine by Irene Villaseñor

Dreams of Revanchism: decomp journal: REFUGEE FUTURITIES: Speculating through Displaced (After)Lives (2023)

  • REFUGEE FUTURITIES

    Speculating through Displaced (After)Lives.

    a decomp journal e-zine edited by Elaina Nguyen, amanda wan, Ben Connor, Olivia Lim, Ipek Omercikli, and Jane Willsie

    In loving memory of Dr. Y-Dang Troeung, whose teaching, scholarship, and generosity brought us together as editors and inspired this issue’s engagement with refugee futurities and worldmaking.

    Artistic productions that draw from refugee experiences complicate understandings of time, space, modernity, and borders that have been normalized, whether through the violence of imperial war or the everyday workings of nation states as projects of modernity (e.g. environmental degradation, practices of citizenship, and capitalist extraction). This was the guiding premise for the decomp journal e-zine, “Refugee Futurities: Speculating through Displaced (After)Lives.” Through this zine, we invited works of fiction, poetry, art, and mixed media that imagined and/or drew attention to the relational and creative practices that are made possible from positions of refugeeness.

    Our turn to speculation in this zine responds to how queer, disabled, racialized, and refugeed figures are often subjected to violences that preclude them from having a future. Conceptualized in relation to the multiplicities of refugeeness, speculation can loosen conceptions of futurity based on a linear progression in time and space that fails to sense what is already present—and lost—within aesthetic and archival practices centered on the conditions of refugeeness. “giizhgaandag زعفران,” for example, offers artistic collaboration mediated through text and textile, offering a form of relational practice that speaks to questions of spirituality, cosmology, and displacement within and beyond language. "The Two of Coins" speaks to narratives around life and death that are passed on through practices of tarot reading. Meanwhile, "Then: beaded embroidered handbag: 3 generations" and “(there was an old Pipal tree in my ancestral home in North India)” turn to intergenerational geographies around distance and separation that are produced in exile.

    As a concept with as many surfaces as depths, “speculation” is not always a salve for healing from displacement. Indeed, speculation can conjure forms of harm, such as in the context of financial speculation that seeks to manipulate entire peoples and lands into tokens of finance capital, or in the speculative fictions that frame the narrative of war as necessary, ethical, or even pleasurable. However, speculative fiction can also challenge these narratives by conjuring images of harm that prompt us to address these conditions in the present, as “Ohio Dust Bowl” does by depicting a near-future story of climatic disaster. “Race and Refugees” invites closer readings of narratives that deem some refugees more worthy of asylum and humanitarian protections. “DECAYING: VIVA” explores the labours undertaken by Latine/x migrants. “Sink or Swim” and “Biological Materials” consider the interconnections between pedagogy and the abandonment of refugees and asylum seekers as cycles that need writing through. Where “The Last Block Party of W. 253rd St.” relates gentrification to the precarity of refuge, "Arma's Restaurant" considers the circulation of stories around precarity in exile through film—alongside the role of food in practices of placemaking. Speculation, then, is far from a dualism between real and unreal, or beauty and harm.

    By reckoning with forced displacement, ongoing colonialism, and imperialism, creative works in this issue also explore what it means to carve out lives and futures while refusing to reproduce speculative futures imbued with white supremacy, cis-heteropatriarchy, and colonial private property. Stitching pearl cotton on fabric, “Ship and the Sea” surfaces the multiple possible futures that await within the Sea, as a site of pain and death but also the potential for escape. “American Aquarium” wonders about feelings of safety and sadness in refuge, whether in a loved one’s arms or the possibility of care.

    The works in this zine follow from a body of critical scholarship that draws from “refugee epistemologies” to contest mainstream depictions of refugees as crises to be managed and instead explore how experiences of loss, movement, and displacement can inform contemporary presences that challenge and exceed state and imperial violence. As Y-Dang Troeung writes in Refugee Lifeworlds, the refugee—a figure made and remade in a world of global precarity—opens up ways of knowing futurity by embodying key resources and knowledges. Drawing from stories of movement, exile, queerness, memory, and human and more than human kinship, we hope the works in this e-zine can enact radical and transformative ways of inhabiting futurity from positions of displacement.

  • decomp- to repurpose the salvage

     [Founded in 2004]

    [Land Acknowledgement]

    Though our contributors are situated all over the globe, decomp journal was reestablished and currently situated on the unceded, traditional and ancestral territories of the xʷməθkʷəyəm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səl̓ilwətaɁɬ (Tsleil-Waututh) Nations.

    As we continue to make space for art and literature on the margins, we must consistently reflect on the implications of our presence here on unceded Indigenous land and our contributions to the settler-colonial structure. Although this publication exists online, the work we do does not.  We are committed to thinking critically about the implications of the digital on the material. We express our gratitude and solidarity to the Indigenous peoples and communities who have and continue to steward this land, protect water and foster community. Without which, our work could not exist. We recognize that a land acknowledgement does not equal decolonization, but see this journal as an opportunity to uplift the multiplicity of Indigenous voices, not just here on Coast Salish lands, but internationally.

    [who we are]

    decomp journal is a literary and multimedia journal grounded in social justice that is committed to curating art from marginalized communities.We are an in-house journal for the Social Justice Institute at the University of British Columbia.

    [what we do]

    We seek to bring complexity and messiness to the sanitized, hierarchical house of our institutions, making solidarity and community as we imagine new homes. We uplift art that reclaims, resists, and refuses, through an engaged editorial process that builds relationships of reciprocity, responsibility, and mutual respect.

    We offer professional roles in editing, curation, writing, and managing, while cultivating an ethos of care, and working against the exploitative and extractive nature of institutions. Our editorial board consists of supporters and allies, while major creative decisions are made by students. By carving out decomp as a community space, we seek to make the editorial process one of ongoing transformation that is accountable and responsive to community needs.

    [how we do it]

    We invite submissions of fiction, poetry, non-fiction, and art/media. Every issue will feature zines curated by a guest editor exploring pressing and contemporary themes and issues.

  • Issue #6: REFUGEE FUTURITIES: Speculating through Displaced (After)Lives.

    Dreams of Revanchism by Irene Villaseñor

Elegy for Cousins, Namtogan Speaks, and Where is my ceremony? Newtown Literary (2023)

  • Newtown Literary is published by Newtown Literary Alliance, a non-profit organization dedicated to helping promote the literary arts in Queens, NY and support established and emerging writers living in the borough.

    Queens is home to one of the most diverse communities of people in New York, and Newtown Literary strives to be a literary forum reflecting our borough. We welcome work from writers and poets of all gender identities and expressions, racial and ethnic backgrounds, social classes, sexual orientations, citizenship and immigration statuses, ages, and belief systems, as well as those with different abilities and disabilities. Writers of all types will find a home in Newtown Literary, and we are especially interested in making space for writing from those who are marginalized elsewhere. We are a group of volunteers committed to representing the many voices of Queens into the journal.

  • Tim Fredrick is a writer and teacher from Queens, NY. He is also the founding editor of Newtown Literary, a journal dedicated to supporting and promoting the work of Queens writers. He founded the Newtown Literary Alliance, a non-profit which publishes the journal, and is the President of the Board of Directors and the Treasurer. He has a BA in Creative Writing from the University of Missouri-Columbia, a MA in English Education from New York University, and a Ph.D. in English Education/Applied Linguistics from New York University.

    Jackie Sherbow lives in Queens, NY. The author of the chapbook Harbinger (Finishing Line Press, 2019), Jackie's poems have appeared or are forthcoming in places like Sierra Nevada Review, Coffin Bell, Luna Luna, and Day One, and have been part of the Emotive Fruition performance series. Their short stories have appeared in Mystery Magazine and The Beat of Black Wings anthology. Jackie works as the senior managing editor for Alfred Hitchcock's Mystery Magazine and Ellery Queen's Mystery Magazine and serves on the board of directors of Newtown Literary—the literary journal dedicated to the borough of Queens, where they were formerly editor—and was a participant in the 2018 Queens Council on the Arts Artists Peer Circle. Jackie's work was nominated for the 2019 Best of the Net Anthology. As of spring 2022, Jackie is the founding publisher at THRASH Press. They are a member of Sisters in Crime and The Wolfe Pack.

    Sokunthary Svay was born in a refugee camp in Thailand shortly after her parents fled Cambodia after the fall of the Khmer Rouge regime. They were sponsored to come to the United States and resettled in the Bronx where she grew up. A founding member of the Cambodian American Literary Arts Association (CALAA), she has received fellowships from the American Opera Project, Poets House, Willow Books, and CUNY, as well as commissions from Washington National Opera, the Asian American Writers’ Workshop, the Chautauqua Institution, and ISSUE Project Room. In addition to publishing a poetry collection, Apsara in New York (Willow Books, 2017), Svay has had her writing anthologized and performed by actors and singers. Svay’s first opera, Woman of Letters, set by composer Liliya Ugay, received its world premiere at the Kennedy Center in January 2020 as part of the American Opera Initiative. A recent recipient of the OPERA America IDEA grant, her second opera with Ugay, Chhlong Tonle, received its premiere in March 2022. She is a Ph.D. candidate in English at the CUNY Graduate Center and a Lecturer at CCNY.

  • Newtown Literary Issue #19 – February 22, 2023

    Amazon.com

I Know: NonBinary Review (2022)

  • Heathentide Orphans 2022

    It's December, and that means that we at Zoetic Press have once again picked all those wonderful pieces that were too good to let go, but didn't fit into any of our themed NonBinary Review issues.

  • OUR CORE VALUES

    Right now, our world is in chaos. There’s really no other way to say it. Atrocity after atrocity hits us, and we are left reeling, stunned, and confused. How is this happening? Why are those in charge letting it happen?

    After every atrocity, everyone puts statements out on their websites meant to reassure people that they’re on the correct side of the conflict. Most of the time, those statements boil down to “please continue to buy our product.”

     We at Zoetic Press would like to put out topical position statements, but in the face of the fact that before one atrocity is resolved, another one comes along, we can’t. We’re writers and editors, but we don’t possess the words to convince people to behave in ways that acknowledge other people’s humanity.

    Fundamentally, that’s what we believe in: other people’s humanity. Other people’s right to exist in a world free from the fear of violence; a world where people have autonomy over themselves and their bodies; a world where people’s basic needs for breathable air, nutritious food, and clean water are taken care of; a world where the vulnerable are cared for and respected; a world where people with great power and privilege recognize their responsibility toward those with less. We cannot side with people or entities whose actions make it clear that they don’t believe the same.

    Humans are hardwired to tell stories. And we should be listening to each other.

  • Issue: Spring / Summer 2024 | Volume 91, Numbers 1/2

    Amazon.com

So Says the Admiral: Longleaf Review (2022)

  • The Wayback Issue/Fall 2022

    The Wayback Issue, a space where past and present collide, a place to rest in restlessness. Give us your take on wayward youth and liminal adolescence. Throw some light time travel our way. Don’t be afraid to get a little speculative, a little retro, a little sci-fi.

  • Our Mission: Longleaf Review is a literary organization that publishes poetry, fiction, creative nonfiction, and hybrid — all of it weird, in all of its forms.

    We are a community of volunteer writers and editors where everyone is welcome.

    We will not tolerate any form of abusive behavior or bigotry in the stories we publish, nor the authors who write them. This means no anti-Semitism, racism, sexism, misogyny, transphobia, homophobia, fatphobia, Islamophobia, xenophobia, or stories that in any way perpetuate negative stereotypes.

    We are committed to publishing work by, for, and about people who are often marginalized in literary spaces, including BIPOC (Black and Indigenous people, and people of color); trans people, cis women, and non-binary people; single parents; LGBQA (lesbian, gay, bisexual, queer, asexual/aromantic) people; people with disabilities; and caregivers.

    Our History: Longleaf Review was established in 2017, and it was initially inspired by Zora Neale Hurston’s work for the WPA collecting folklore in the turpentine camps of Florida during the 1930s. The men and women working and living in the longleaf pine forests were often overworked and overlooked in society, yet they each had stories to tell and songs to sing that reflected and affirmed the joys, sorrows, and in-betweens of their humanity.

    The South has a rich tradition of story-telling, and, like Hurston, Longleaf Review still believes that everyone has a story to tell. We want to publish work that encapsulates all it means to be human, with a particular interest in outsider perspectives that force us to look at the everyday in new and inspiring ways.

  • Erin Vachon lives in Rhode Island and their work appears in SmokeLong Quarterly, DIAGRAM, Hayden’s Ferry Review, The Pinch, Brevity, CHEAP POP, Cream City Review, and more. They are Hybrid Editor for Longleaf Review and an alum of the Tin House Summer workshop. Erin earned their MA in English Literature and Comparative Literature from the University of Rhode Island, and you can find them on Twitter @erinjvachon.

  • The Wayback Issue/Fall 2022

    So Says the Admiral by Irene Villaseñor

Other Islands, Other Futures (1492-present) and Saint Valentine's Day, 1779 in Owyhee: Jelly Bucket (2022)

  • Issue #12 with Special Section: Indigenous Voices

    Jelly Bucket #12 is finally here! This year we feature the Indigenous community showcasing thought-provoking fiction, creative nonfiction, poetry and art by authors such as Shehashe Littledave, Ricardo Nazario Y Colón, Sage Ravenwood, Jeanette Weaskus, and Robyn Katona. With his stunning and intricate art, Alan Groves is our featured artist for the Indigenous Voices issue. The special section is guest edited by Annette Saunooke Clapsaddle.

    In the words of our Editor-in-Chief this year, Eric Willis says “the general section (contains) a wide array of entries that, as a whole, speak to something universal, something rooted in all of us as humans. The relationship, in a multitude of forms, takes hold of the heart of these words and stories—mothers and daughters, the human in nature, intimate partners, the writer and the written page, the observer questioning the world around them.”

    We invite you to discover and enjoy!

  • Jelly Bucket [jel-ee buhk-it]-noun

    1. Archaic slang for a lunch pail, formerly used by coal miners and other laborers residing in Appalachia.

    2. Bluegrass Writers Studio’s annual graduate-student-produced literary journal at Eastern Kentucky University.

    Jelly Bucket is distributed nationally to major outlets such as Barnes & Noble, and the work of our contributing authors has been nominated several times for inclusion in the Best Of series.

  • Eric Willis lives and works in Lexington, Kentucky. He is a writer, reader, world traveler, visual artist, pharmacist, and avid amateur pickleball player. As a student of the Bluegrass Writers Studio , he is the 2021 Emerging Writer Award winner in creative nonfiction. He makes his home with one dog, one cat, one fish, and one amazing fellow human being.

  • Issue #12 with Special Section: Indigenous Voices

Nerves of Snakes, 1506: The Journal of Latina Critical Feminism (2022)

  • About Us: It started ten years ago with an idea and a passion. Dr. Jorge Valadez saw the need for  a peer reviewed, Latina, feminist journal, but never quite found the right people to help him put it together. Come the spring of 2016,  he saw the enthusiasm and eagerness from some students in his philosophy of social justice class as opportunities to make this idea come to fruition. With his support and organization between students, faculty and other acclaimed philosophers across the country, we have formed the Journal for Latina Feminism.

    Our Philosophy

    1. The journal will provide a voice for the articulation of feminist and social justice concerns from a Latina perspective, broadly construed to include Latinas in the U.S., Latin America, and other countries.

    2. The journal will be an online, open access, blind peer-reviewed academic journal that will include narrative and poetic entries as legitimate forms of scholarly feminist analyses.

    3. The basic normative commitment of the journal is to expand the analysis of the ways gender relates to social justice in its multiple forms, including a critical examination of intersectionality, the role that men and women play in oppressing animals and the earth, and the complex connections between minority cultures and the oppression of women.

    4. We particularly encourage submissions that draw from our indigenous values, norms, and perspectives to articulate views of sociopolitical, economic, and natural environments that promote the mutual well-being of human and nonhuman species.

    5. The journal wants to explore the social justice implications of different forms of gender and sexual identification, including gay, lesbian, transgender, pansexual, bisexual, and other forms of sexual identity.

    6. The journal welcomes articles that discuss ways in which feminist struggles can be systematically integrated with broader social justice issues. In particular, we believe that to achieve its true potential as a revolutionary transformational force it is important for feminism to support a planetary ethic that expresses moral concern for all inhabitants of the earth community, understood in intergenerational terms.

    7. We construe feminism broadly to include gender analyses that examine the ways men, particularly minority men, can be oppressed by patriarchy.

    8. Articles should as far as possible use language that is understandable and accessible to wide audiences and avoid obscurantist and convoluted terminology that conveys a false sense of profundity. Also, the journal will include poetry, experiential narrative accounts, and other forms of creative expression.

    9. Perhaps most of all, the journal will strive to exemplify the highest standards of intellectual and moral integrity and fairness. We believe that the true potential of feminism will never be realized unless these ideals are fully embraced and implemented.

  • Jorge M. Valadez received his Ph.D. at Yale University and currently teaches at Our Lady of The Lake University in San Antonio. His work as been published in the areas of third world philosophy and multiculturalism.

    Carolina Hinojosa-Cisneros is a Tejana poet, freelance writer, and aspiring author. Her work focuses on Latinidad and faith. Her work can be found or is forthcoming in The Acentos Review, SheLoves Magazine, Rock & Sling: a journal of witness, The Rumpus, and more. She keeps a regular blog at CisnerosCafe.org.

  • The Journal of Latina Critical Feminism: Vol. 5, Issue 1

My Ilocano Phrasebook Wants You To Know: Nat. Brut. (2021)

  • Folio: Split Tongues

    Edited by Amanda Galvan Huynh

    Split—as in to divide; as in separate by cutting; as in to break. Yet, split in this folio does the opposite. It mends. It heals, rebuilds, sews, weaves, reaches, witnesses, and remembers. 

    Split tongues reclaim space in an American environment that continues to push non-English voices out. It stands and holds steady. The writings here capture the nuances of inheriting a mother tongue and hearing beyond the dominant English language in America. 

    Revilla, Ahmed, Villaseñor, Terazawa, González, Kayzakian, Vuong, and Sheriff take languages and weave together experiences from their communities and selves. They illustrate how English, ever dominant, falls short. They reveal how to reach beyond English in order to communicate the beauty of resisting erasure in America: the stumbles of their names on English-tied tongues, the pressure to always be a translator, to return home, to answer in two tones, or to carry stories to other ears. 

    These writers gift us with more than bilingual poems and nonfiction narratives—they bring to us the challenges and joys of bearing the weight of split tongues. They show us how to move forward and that they are not alone—they are listening. —Amanda Galvan Huynh

  • Nat. Brut’s (pr. nat broot) principal mission is to showcase the work of writers and artists who have been historically devalued or pigeonholed by art and literary institutions. We publish work that has been buried, ignored, and disappeared from public consciousness. Equally, we seek work that comes from artists’ buried, ignored, and disappeared impulses and practices—the risky, the exploratory, and the potentially ugly.

    We bring together work that is serious and humorous, formal and experimental, by artists and writers who are trained and untrained, emerging and established. The work that we publish is intentionally representative of different identities, perspectives, and experiences. We believe in the power of presenting all of these voices in proximity.

    Formerly a biannual magazine, we now release one online issue a year and hold free submissions during the spring. Once a year, we hold free submissions for our folios.

    In 2021, Nat. Brut, which is 100% volunteer-run, began paying our contributors a small honorarium. We are excited to have taken the first steps toward a paid model.

  • AMANDA GALVAN HUYNH (she/her) is a Xicana writer and educator from Texas. She is the author Where My Umbilical is Buried (Sundress Publications 2023), a chapbook Songs of Brujería (Big Lucks September 2019), and Co-Editor of Of Color: Poets’ Ways of Making: An Anthology of Essays on Transformative Poetics (The Operating System 2019). Amanda has been nominated for the Pushcart Prize, Best New Poets, and Sundress Publications’ Best of the Net. She was a 2016 AWP Intro Journal Project Award Winner, 2018 Best of the Net Winner, a finalist for the 2015 Gloria Anzaldúa Poetry Prize, and a finalist for the 2017 Poetry Society of America Chapbook Fellowship. Her poetry can be read in print and online journals such as Hayden’s Ferry Review, Puerto del Sol, The Southampton Review, and others. She serves as the Managing Editor of Mānoa: A Pacific Journal of International Writing.

    Amanda earned her MFA in Poetry at Old Dominion University, BA in English at the University of Texas at Arlington, and BA in Biology at the University of Texas at Dallas. Currently, she is a doctoral candidate in English at the University of Hawaiʻi at Mānoa.

    In the past, she has taught poetry workshops at The Muse Writers’ Center, and with Writers in the Schools (WITS – Houston). Her writing has been supported by fellowships and scholarships from MacDowell, Storyknife, Vermont Studio Center, Sewanee Writers’ Conference, Sundress Academy for the Arts, New York Summer Writers Institute, Robert Rauschenberg Foundation, Community of Writers at Squaw Valley, Monson Arts, Virginia Center for the Creative Arts, and others.

  • Nat. Brut | Issue Fifteen (Fall 2021)

Untitled Epigram: Heart on Your Sleeve Project (2021)

  • Heart on Your Sleeve delivered poetry into people’s hands as we cautiously navigated communal city life in 2021.

    The concept was simple. Insulation sleeves for takeout coffee-cups were marked with curated epigrams of 150 words or less that reflect numerous visions of the future. We were looking to infuse New Yorkers’ lives with messages of liberation, equity, and even utopia. These mindful verses added a little lift to a drink that’s already proven to be a great way to start the day. Featured poets included:  Cathy Linh Che, Rachel Eliza Griffiths, Eileen Myles, Rochelle Owens, Nicole Sealey, and Irene Villaseñor. Art by Hyesu Lee.

    Fall 2021 sleeves were available at two Joe Coffee locations on Governors Island LMCC’s Art Center café and Liggett Terrace.

    Thank you for wonderful support from The Poetry Project’s Kyle Dacuyan and Will Farris, LMCC’s Lili Chopra, and Joe Coffee, along with Craig Howarth, Anne Pope, and Genevieve Wollenbecker, all who lent a hand.

  • Gross is an interdisciplinary artist, poet, cultural producer, and career coach. She is a board member of The Poetry Project and the author of six chapbooks: “The Whisperer”, "Crisscross," “Shape”, "Between My Teeth," "Perpendicular," and "Glass, Maybe." Her work has been published and anthologized by "Diagram" and she was one of the featured readers in The Poetry Project’s 2020 New Year’s Marathon Reading.

    Currently Gross is producing Public Programs at The Academy of Natural Sciences with Marina McDougall and Ryan Strand Greenberg. We are working to bring an arts lens to the incredible work of the Academy, which was established in 1812

    From November 2022 through April 2023, with Strand Greenberg, Gross co-curated Heart on Your Sleeve, a winter-longpoetry and public art initiative focusing on care and renewal for Philadelphians, taking place at all four Elixr Coffee locations in Philadelphia. The project included poems by Sojourner Ahebee, Dilruba Ahmed, Husnaa Haajarah Hashim, Sham-e-Ali Nayeem, Ursula Rucker, and Eleanor Wilner as the centerpiece of the six takeout coffee sleeve series created by designer Jonai Gibson-Selix and printmaker Hester Stinnett. For the duration of the project, artist Destiny Palmer’s “A Breath” was installed at the Elixr on S. Sydenham Street in Center City, Philadelphia.

    In 2021 Gross conceived of The Poet’s Table, an afternoon of free one-on-one readings, during which poets recited a poem to each person who visited their table, for which she received a NYC City Artist Corp grant. And she co-produced "Calling The World," 2020, a dial-a-poem project with the Poetry Society of America. Other collaborative projects include installing movie-related haiku at Nitehawk Cinema, NYC and distributing “Lost Poem” flyers at the O, Miami Poetry Festival. 

    After completing New York University’s Career Coaching program, Gross has been coaching artists, arts workers, and anyone looking to evolve their ways of working. Learn more about her practice here.

    She studied Electronic Media Art at the Die Hochschule für Grafik und Buchkunst Leipzig [HGB]  in Leipzig, Germany and lived in Germany (Berlin, Leipzig, Boehlen, and Aachen). 

    She lives with her husband Craig Howarth and cat Momo in Northern Liberties, Philadelphia.

    Click here for artist CV, here for LinkedIn.

  • Heart on Your Sleeve

1492: Santa Fe Writers Project (2021)

  • Editor’s Note
    Monica Prince, Managing Editor

    This One is Mine: Ownership, Disability, and a Necessary Community

    All year, we’re accepting work from writers of marginalized identities for the Quarterly. This second issue is devoted to writers with disabilities considering the idea of ownership. Monica Prince, our managing editor, edited this issue. Editors for each issue will write the introductions.

    I have never considered myself disabled.

    I grew up with the ADA, with curb cuts in sidewalks, with special education teachers in school. I never questioned “handicapped” parking spaces, automatic doors, or closed captioning options on DVD rentals (y’all remember renting DVDs? Better yet, y’all remember renting VHS tapes?!). These parts of my life are things I’ve taken for granted, since I’ve never considered myself disabled.

    When deciding to curate an issue devoted to writers with disabilities, I tried to find a disabled guest editor so I wouldn’t choose works from a place of privilege or ignorance. As I’ve stated in all the intros for the special issues this year—trauma porn isn’t the goal of centering underrepresented identities. Who am I to tell disabled writers, especially those writing creative nonfiction, what narratives are valuable?

    Unfortunately, I failed to find a guest editor, but editing this issue shifted my understanding of myself.

    In December of 2018, my sister woke up ill in an empty house. We three siblings were in Colorado visiting our mother for the holidays, but I was with my boyfriend at his house and my mother and brother were at work. She took a Lyft to an Urgent Care where they ran her blood sugar and instructed her to go the emergency room. Her glucose level was around 450mg/dL.

    For those of you unaware, that level meant she should probably be in a coma.


    After two days in the hospital, my sister emerged with a diagnosis: type I diabetes. She was thirty years old.

    I have a poem in my first poetry collection called “Tea for a Sick Day,” all about how I could not understand how my sister’s body—a runner’s body, a cross-country and track star’s body, a thin body—could just give up on her one day. I still cannot understand how your organs decide Nah, b, shut it down. And this is one of the common responses to illness—it feels unfair.

    Years before my sister’s new diagnosis, I sat in a psychiatrist’s office for a medical evaluation, a recommendation turned requirement after an emergency counseling appointment two days before. I’d been suicidal for weeks and seeing my most recent rapist start dating a friend of mine sent me over the edge. I had woken up earlier that week and told myself I had to get better or die. There was no other option.

    After looking over my intake information, the psychiatrist, who never looked at me directly but always over my head, told me I had moderate depression and PTSD. I couldn’t believe that. The depression was obvious, but PTSD?

    “I’m not a veteran,” I said without thinking.

    “PTSD is not an illness restricted to war,” he replied patiently.

    He went on to explain how PTSD develops when a, often repeated, traumatic incident triggers our fight-or-flight response continuously. So, yes, veterans of combat who experience violent scenarios for three tours of duty might have PTSD, but so do rape survivors, abused spouses, and human trafficking victims. PTSD, unlike type I diabetes, isn’t the body giving up on you, but the mind desperate to keep you alive.

    I exclusively chose ownership as the theme for this issue because I wanted writers to discuss the ways that owning anything impacts one’s daily existence. The prose, poetry, and graphics in this issue navigate that concept strongly. Some pieces talk directly about disability—like owning the word “cripple,” redefining what it means to be broken, and examining the history of disabled people in America. But others focus more on what it means to have something no one can take away.

    When I first received my PTSD diagnosis, I felt discouraged. I actually thought the words, Why can’t I be normal? Alternatively, though, I was grateful for a word that named my experience—the flashbacks, the panic attacks, the insomnia, the hypervigilance. I wasn’t crazy—another problematic term that diagnoses nothing and distracts from everything—and I wasn’t making anything up. My mind just wanted to protect me by reminding me (constantly) that I almost died and we can’t let that happen again.


    Accepting this chronic experience helped me take control of my treatment. It helped me restructure my pedagogy to decrease the triggers that might send me spiraling. I got medication, therapy, and a weighted blanket. I started to alleviate the pressure on my mind to keep this whole show running.


    I’m not inspired by the pieces written in this issue, though the pieces are inspiring. I’m heartened and grateful for them. I read the work here and empathize, yes, but I also sigh in relief. It’s not that the fight for equity and access is over. It’s not that one issue focusing on disabled writers cures bias and violence against the whole population.


    I’m relieved because universal design helps everyone. By removing the barrier of submission fees for all our writers, the disabled writers who might be working with limited income submitted in droves. By emphasizing the inclusion of perceived or hidden disabilities, writers who often feel excluded from submission spaces felt confident sending work to us. By asking for every kind of work—fiction, nonfiction, poetry, graphic work, plays, etc.—even the most niche writers had a chance at publication.

    Ownership isn’t just about colonization, property, or control of one’s self. It’s also about responsibility, accountability, and restructuring. I said earlier that I have never considered myself disabled. What I mean is I never considered myself disabled until now. When I plan my semesters around my disability, I inadvertently support my students by demonstrating how I take care of myself. When I edited this issue from that perspective, I stopped seeing disabled writers as a category outside of my identity. If anything, curating this issue made me call PTSD mine, call it my disability, call this community of writers home.  

    Read these pieces to laugh, to cry, to reimagine. Then vote out anyone who doesn’t support disability rights. And fight for us. Because we aren’t going anywhere.

  • SFWP is an independent press founded in 1998 by Andrew Gifford. We publish exciting fiction and creative nonfiction of every genre, maintain an online literary journal, and run an annual internationally-recognized Awards Program. All of our titles are distributed globally by the Independent Publishers Group. We aggressively pursue subrights, working closely with the Susan Schulman Literary Agency, and have sold audio, translation, and film/TV/streaming rights. Please direct all rights inquiries to Andrew Gifford.

    Our books are available worldwide, in every format, everywhere books are sold. We have extensive, long-term relationships with trade publications, sales reps, subrights agents, and bookbuyers.

    Our history, and our mission, goes far beyond publishing. We stand by our authors and we stand by our books, embracing new trends and ideas beyond those of the current publishing industry and seek to champion diverse voices. Since 2000, we have hosted an internationally recognized Literary Awards Program. Since 2002, we have maintained an online Literary Journal which provides a home for published and unpublished authors, featuring fiction, creative nonfiction, book reviews, and experimental work. We publish our winning authors, and 95% of our previous Awards Program winners have gone on to publication. Our titles have been translated into Chinese, French, Spanish, and Turkish.

    Why Santa Fe?

    While our founder has family ties to New Mexico and we maintain a small presence there, we are a global publisher with authors from all over the US, the UK, and Europe, and a distribution system that guarantees our titles are available wherever books are sold anywhere in the world. We are not a regional press and we do not embrace a regional focus. The New Mexico landscape has been inspirational for our founder and for much of his family for many decades, so the name reflects that appreciation. For more details, please see the radio and print interviews with our founder listed below.

  • Monica Prince teaches activist and performance writing and serves as Director of Africana Studies at Susquehanna University in Pennsylvania. She is the author of Roadmap: A Choreopoem, How to Exterminate the Black Woman: A Choreopoem, Instructions for Temporary Survival, and Letters from the Other Woman. Her work appears in Wildness, The Missouri Review, The Texas Review, The Rumpus, MadCap Review, American Poetry Journal, and elsewhere. As one of the foremost choreopoem scholars, Prince writes, teaches, and performs choreopoems across the nation.

  • Santa Fe Writers Project - Issue 26 - Writers with Disabilities on This One is Mine: Ownership, Disability, and a Necessary Community

    1492 by Irene Villaseñor

To the People of New Holland, 1770: Santa Fe Writers Project (2021)

  • Editor’s Note
    Monica Prince, Managing Editor

    This One is Mine: Ownership, Disability, and a Necessary Community

    All year, we’re accepting work from writers of marginalized identities for the Quarterly. This second issue is devoted to writers with disabilities considering the idea of ownership. Monica Prince, our managing editor, edited this issue. Editors for each issue will write the introductions.

    I have never considered myself disabled.

    I grew up with the ADA, with curb cuts in sidewalks, with special education teachers in school. I never questioned “handicapped” parking spaces, automatic doors, or closed captioning options on DVD rentals (y’all remember renting DVDs? Better yet, y’all remember renting VHS tapes?!). These parts of my life are things I’ve taken for granted, since I’ve never considered myself disabled.

    When deciding to curate an issue devoted to writers with disabilities, I tried to find a disabled guest editor so I wouldn’t choose works from a place of privilege or ignorance. As I’ve stated in all the intros for the special issues this year—trauma porn isn’t the goal of centering underrepresented identities. Who am I to tell disabled writers, especially those writing creative nonfiction, what narratives are valuable?

    Unfortunately, I failed to find a guest editor, but editing this issue shifted my understanding of myself.

    In December of 2018, my sister woke up ill in an empty house. We three siblings were in Colorado visiting our mother for the holidays, but I was with my boyfriend at his house and my mother and brother were at work. She took a Lyft to an Urgent Care where they ran her blood sugar and instructed her to go the emergency room. Her glucose level was around 450mg/dL.

    For those of you unaware, that level meant she should probably be in a coma.


    After two days in the hospital, my sister emerged with a diagnosis: type I diabetes. She was thirty years old.

    I have a poem in my first poetry collection called “Tea for a Sick Day,” all about how I could not understand how my sister’s body—a runner’s body, a cross-country and track star’s body, a thin body—could just give up on her one day. I still cannot understand how your organs decide Nah, b, shut it down. And this is one of the common responses to illness—it feels unfair.

    Years before my sister’s new diagnosis, I sat in a psychiatrist’s office for a medical evaluation, a recommendation turned requirement after an emergency counseling appointment two days before. I’d been suicidal for weeks and seeing my most recent rapist start dating a friend of mine sent me over the edge. I had woken up earlier that week and told myself I had to get better or die. There was no other option.

    After looking over my intake information, the psychiatrist, who never looked at me directly but always over my head, told me I had moderate depression and PTSD. I couldn’t believe that. The depression was obvious, but PTSD?

    “I’m not a veteran,” I said without thinking.

    “PTSD is not an illness restricted to war,” he replied patiently.

    He went on to explain how PTSD develops when a, often repeated, traumatic incident triggers our fight-or-flight response continuously. So, yes, veterans of combat who experience violent scenarios for three tours of duty might have PTSD, but so do rape survivors, abused spouses, and human trafficking victims. PTSD, unlike type I diabetes, isn’t the body giving up on you, but the mind desperate to keep you alive.

    I exclusively chose ownership as the theme for this issue because I wanted writers to discuss the ways that owning anything impacts one’s daily existence. The prose, poetry, and graphics in this issue navigate that concept strongly. Some pieces talk directly about disability—like owning the word “cripple,” redefining what it means to be broken, and examining the history of disabled people in America. But others focus more on what it means to have something no one can take away.

    When I first received my PTSD diagnosis, I felt discouraged. I actually thought the words, Why can’t I be normal? Alternatively, though, I was grateful for a word that named my experience—the flashbacks, the panic attacks, the insomnia, the hypervigilance. I wasn’t crazy—another problematic term that diagnoses nothing and distracts from everything—and I wasn’t making anything up. My mind just wanted to protect me by reminding me (constantly) that I almost died and we can’t let that happen again.


    Accepting this chronic experience helped me take control of my treatment. It helped me restructure my pedagogy to decrease the triggers that might send me spiraling. I got medication, therapy, and a weighted blanket. I started to alleviate the pressure on my mind to keep this whole show running.


    I’m not inspired by the pieces written in this issue, though the pieces are inspiring. I’m heartened and grateful for them. I read the work here and empathize, yes, but I also sigh in relief. It’s not that the fight for equity and access is over. It’s not that one issue focusing on disabled writers cures bias and violence against the whole population.


    I’m relieved because universal design helps everyone. By removing the barrier of submission fees for all our writers, the disabled writers who might be working with limited income submitted in droves. By emphasizing the inclusion of perceived or hidden disabilities, writers who often feel excluded from submission spaces felt confident sending work to us. By asking for every kind of work—fiction, nonfiction, poetry, graphic work, plays, etc.—even the most niche writers had a chance at publication.

    Ownership isn’t just about colonization, property, or control of one’s self. It’s also about responsibility, accountability, and restructuring. I said earlier that I have never considered myself disabled. What I mean is I never considered myself disabled until now. When I plan my semesters around my disability, I inadvertently support my students by demonstrating how I take care of myself. When I edited this issue from that perspective, I stopped seeing disabled writers as a category outside of my identity. If anything, curating this issue made me call PTSD mine, call it my disability, call this community of writers home.  

    Read these pieces to laugh, to cry, to reimagine. Then vote out anyone who doesn’t support disability rights. And fight for us. Because we aren’t going anywhere.

  • SFWP is an independent press founded in 1998 by Andrew Gifford. We publish exciting fiction and creative nonfiction of every genre, maintain an online literary journal, and run an annual internationally-recognized Awards Program. All of our titles are distributed globally by the Independent Publishers Group. We aggressively pursue subrights, working closely with the Susan Schulman Literary Agency, and have sold audio, translation, and film/TV/streaming rights. Please direct all rights inquiries to Andrew Gifford.

    Our books are available worldwide, in every format, everywhere books are sold. We have extensive, long-term relationships with trade publications, sales reps, subrights agents, and bookbuyers.

    Our history, and our mission, goes far beyond publishing. We stand by our authors and we stand by our books, embracing new trends and ideas beyond those of the current publishing industry and seek to champion diverse voices. Since 2000, we have hosted an internationally recognized Literary Awards Program. Since 2002, we have maintained an online Literary Journal which provides a home for published and unpublished authors, featuring fiction, creative nonfiction, book reviews, and experimental work. We publish our winning authors, and 95% of our previous Awards Program winners have gone on to publication. Our titles have been translated into Chinese, French, Spanish, and Turkish.

    Why Santa Fe?

    While our founder has family ties to New Mexico and we maintain a small presence there, we are a global publisher with authors from all over the US, the UK, and Europe, and a distribution system that guarantees our titles are available wherever books are sold anywhere in the world. We are not a regional press and we do not embrace a regional focus. The New Mexico landscape has been inspirational for our founder and for much of his family for many decades, so the name reflects that appreciation. For more details, please see the radio and print interviews with our founder listed below.

  • Monica Prince teaches activist and performance writing and serves as Director of Africana Studies at Susquehanna University in Pennsylvania. She is the author of Roadmap: A Choreopoem, How to Exterminate the Black Woman: A Choreopoem, Instructions for Temporary Survival, and Letters from the Other Woman. Her work appears in Wildness, The Missouri Review, The Texas Review, The Rumpus, MadCap Review, American Poetry Journal, and elsewhere. As one of the foremost choreopoem scholars, Prince writes, teaches, and performs choreopoems across the nation.

  • Santa Fe Writers Project - Issue 26 - Writers with Disabilities on This One is Mine: Ownership, Disability, and a Necessary Community

    To the People of New Holland, 1770 by Irene Villaseñor

Instructions For Opening Up the Heart, Daughter of the Years, and Grand Cardinal Cross, 2014 for the Special Issue: Soft for the Tayo Literary Magazine (2019)