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Literature
Submitting to Lit Journals
Rough Guide to Submitting Poetry to Literary Journals (by Email)
First thing you need is your poems, naturally; these must be fully redrafted to your satisfaction to have much of a chance of getting anywhere in the world of self-respecting mags. Try out some workshops (there are a tonne on the internet, and plenty in the real world too), ask your friends, but most of all just mull them over for yourself until you're happy.
Do not pad your submission with bad poems, thinking the worse ones might get through thanks to your stronger work. This will just result in the whole bunch being rejected, in all probability.
Next we need to scope out a market. There are numerous ways of doing this. Duotrope is probably the most useful resource around. Check that your target accepts electronic submissions and are currently open to submissions at all. Read their guidelines thoroughly and follow every one. It's amazing how many people completely fail to follow the
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Literature
A Guide to Visual Poetry
"Concrete poetry is poetry in which the typographical arrangement of words is as important in conveying the intended effect as the conventional elements of the poem..." ~Wikipedia
Visual poetry, also known as concrete poetry, is fun to write because you have colors, textures, and words all at your power to manipulate. You've probably seen visual poetry before, where a poem is written in the shape of what it describes, like "Pyramids":
                    A
               glimmer
         of hope through
      the heat, that simple
  materials in simple shapes
can stand as skyscrapers fall.
It's a start, but as a visual poet you've got way more power than this.
Font - Finally, after years of 9 pt. Arial (or whatever it is th
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Literature
John Keats and Poetry
Keats, in his Sleep and Poetry, enumerates the aspects of a rather intriguing fancy of his. If, for ten years, he could overwhelm himself in poesy, he would make a certain set of ventures into a set of symbolic worlds; the first of these locales ‘seen in long perspective’ being the realms of Flora (the Roman goddess of the vegetative) and Old Pan (a player of piping music). Here we see exhibited a bona fide paradise, complete with near enough to all the archetypal pleasures conjured within man as paradisiac. Upon first inclination, the paradisiac ensorcels young John, but before long this fruitful setting comes to its own fruition as he makes his pass at them and continues on to what he feels to be a ‘nobler life’. This land is a craggy land contained ever beneath the sternum and existing ever within the ventricles and aortas of Man. This is revelatory in a number of ways; however, perhaps the most endearing, if not the most pertinent, conclusion to be drawn from th
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Literature
Heroicism and Realism: Henry V
The Fashioned Crown: Heroicism and Realism in Henry V
An analysis of Act III, Scenes 0-2
Shakespeare's history play Henry V has been criticised widely for being a play whose propagandist nature has compromised the consistency of character and action: 'what [Shakespeare] produced was a propaganda-play on National Unity: heavily orchestrated for the brass.'  These criticisms are reliant on mimetic assumptions: 'in the characters and plot construction alike, one must strive for that which is either necessary or probable.'  These inconsistencies are certainly observable, but Shakespeare is famous for confounding tradition, and mimetic tradition is no exception. Defences against this criticism can be found by analysing Act three up to scene two, if one stays conscious of genre and mode. There are two modes that characterise the action in the play: heroic, and a kind of ironic realism.  In investigating the factors and internal logics that establis
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Literature
A word about Haiku
A word about haiku
I believe there are a few basic precepts about haiku that are largely overlooked, or just flat out just not taught in most basic literary (poetic) courses. Everyone seems to know that a haiku is suppose to be written in the structure of 5-7-5 syllables per line respectively, but there is much more going on than just a simple syllable constraint. I shall attempt to give a brief overview of the main points about haiku.
First off, the 5-7-5 syllable structure most often cited as being the sole 'structural rule' of haiku is based on the original Japanese constraint. However, the Japanese language and more specifically their word structure differ from English in a critical way when it comes to the definition of this structure. In the Japanese language, each sound unit is called an onji as opposed to our syllable. This unit of measure for a word is considerable more concise than what we use to define a syllable (typically only one or two letters m
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Literature
An Inspective Look At...
An Inspective Look At William Wordsworth's
                                                      The World Is Too Much With Us
                                                                                                    
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Literature
Linguistic Nationalism:Lycidas
Linguistic Nationalism: Milton's Lycidas
'Lycidas' (p. 516), written in 1637 on occasion of the death of Edward King, is by Milton's own affirmation a monody, but the poem is nevertheless a site of much alternation of tone and landscape. These shifts reflect 'the two worlds of the poem: of innocence and of experience.' The world where flowers may 'strew the laureate hearse where Lycid lies' (p. 519) is constantly in opposition with, and is invaded by, the one that admits 'the remorseless deep / Closed o'er the head' (p. 517) of Lycidas. Milton does not 'admit the traditional extravagance of proclaiming that the young man's death caused nature's decay';  rather, the landscape becomes infected by the speaker's fallen gaze:
As killing as the Canker to the Rose,
Or Taint-worm to the weanling Herds that graze,
Or Frost to Flowers, that their gay wardrop wear,
When first the White-thorn blows;
Such, Lycidas, thy loss to Shepherds ear. (p. 517)
Here we see description of the
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Literature
Linguistic Relocation of Reali
Since the relationship between language and external reality had become so unreliable, Modernist writers sought to re-locate reality in language itself.

In regards to this "external reality", modernist writers produced two types of work: affected and effective.  The Russian Formalists, Shklovsky notably, begin not only this idea of defamiliarization (ostraneniye, "making it new") that is at the heart of so much writing of the period, but also the privileging of language as a site for this relocation of reality: "Art is a way of experiencing the artfulness of an object; the object is not important".  Thus discourse rises over plot; plausibility asserts itself over probability. If the default aim of art is taken as mimetic, this shift presents a striking change in perceptions. There is evidence that it is consciously related to mimesis, too: Brecht's 'table'  sets "dramatic theatre" against his new "epic theatre",  where the first represent
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Literature
A poem should not mean, but be
'A poem should not mean, but be.' (Wimsatt and Beardsley, after Macleish) What relation does this idea have to theories of literary form?
The quotation from Ars Poetica 'a poem should not mean but be' is one, in this instance, taken up by objective criticism as an argumentative focal point for its exponents. The citing of this extract from the poem occurs in 'The Intentional Fallacy', the first in a set of two essays by Wimsatt and Beardsley. This essay seeks to strip away any claimed validity of authorial purpose in criticism: 'A poem can be only through its meaning—since its medium is words—yet it is, simply is, in the sense that we have no excuse for inquiring what part is intended or meant.'  More than this, Wimsatt states that 'the design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art'.  This first essay is half of the two-sided attempt at turning the poem into an isolated ico
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Literature
Modernist Remnants: John Bu...
Modernist Remnants: John Burnside's Annunciation with Zero Point Field
Much of John Burnside's work deals with belonging and, as follows, alienation: 'Hand in hand with this impulse for home comes "the dread of belonging"'.  His poem Annunciation with Zero Point Field  is no exception. Here an angel becomes the vessel in which the poem's various symbols clash and mingle, in itself becoming a symbol for this shared space.  By unravelling those threads of symbolism the angel embodies, the poem's themes can be revealed and properly examined. Much of modernist writing concentrates, or at least meditates, on the impossibility of connecting with and understanding another human being completely, let alone identifying with the society created by this multitudinous disconnection. Burnside's poem also remarks on this via the discrepancies between the super-narrative and sub-narrative.  The angel is a cold, dead 'creature pulled from the ice' in the
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Literature
John Burnside's Annunciation
John Burnside's 'Annunciation with Zero Point Field'  from The Good Neighbour.
The title sets up a striking duality: that of religion mixed with quantum physics. The two elements create a harmony between their fields in that they may be seen to remark upon the same thing: energy from nowhere. The mythological status of the idea of gathering energy via the zero point field means that the two ideologies hardly clash.
The poem uses an angel to symbolise choice, an easy and effective way to avoid abstraction while keeping in tone with the poem's imagery palette. At first the initial mention of it (a thing pulled from the ice) appears artificial in its separation from the narrative; but this is wholly appropriate given how this potential allegory reflects the viewpoint of 'you'. The collision of this take on the angel and the narrator's is another aspect of this 'household we have in common / but don't quite share,'  how what we belong to, our home, is a thing tha
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Literature
Imaginist Manifesto
Imaginism
Writing cannot appeal directly to the senses, which is both its strength and its weakness: the reader must be provided the sensorial tools and opportunities, but the Images he constructs are of his own devising.
Telly language must be shunned; it belies the narrator's presence and forces the reader's mind. Equally should authorial intrusion never be stooped to.
Thus also must imperative addresses and narrative trickeries be avoided;
And gimmicks, such as the adjective-noun/noun linebreak, and the suspended linebreak for melodrama;
And sonic and syntactic and structural clumsiness|contrivance;
And supra-poetics such as rhyme and metre, else made inconspicuous;
And too-obvious development of themes, or other unnaturalness in the Story's course.
The reader's essence must be founded in the writing's course to evoke the potent Complex: character, dilemma, or other relatable instance should be this vessel.
The writing should be personal but only in its imaginative properties; catha
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Literature
Surrealist Manifesto
SURREALISM
BY
ANDRÉ BRETON
(1924)
So strong is the belief in life, in what is most fragile in life – real life, I mean – that in the end this belief is lost. Man, that inveterate dreamer, daily more discontent with his destiny, has trouble assessing the objects he has been led to use, objects that his nonchalance has brought his way, or that he has earned through his own efforts, almost always through his own efforts, for he has agreed to work, at least he has not refused to try his luck (or what he calls his luck!). At this point he feels extremely modest: he knows what women he has had, what silly affairs he has been involved in; he is unimpressed by his wealth or his poverty, in this respect he is still a newborn babe and, as for the approval of his conscience, I confess that he does very nicely without it. If he still retains a certain lucidity, all he can do is turn back toward his childhood which, however his guides and mentors may have botched it, still strikes him as somehow ch
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Literature
Futurist Manifesto
The Futurist Manifesto
F. T. Marinetti, 1909
We have been up all night, my friends and I, beneath mosque lamps whose brass cupolas are bright as our souls, because like them they were illuminated by the internal glow of electric hearts. And trampling underfoot our native sloth on opulent Persian carpets, we have been discussing right up to the limits of logic and scrawling the paper with demented writing.
Our hearts were filled with an immense pride at feeling ourselves standing quite alone, like lighthouses or like the sentinels in an outpost, facing the army of enemy stars encamped in their celestial bivouacs. Alone with the engineers in the infernal stokeholes of great ships, alone with the black spirits which rage in the belly of rogue locomotives, alone with the drunkards beating their wings against the walls.
Then we were suddenly distracted by the rumbling of huge double decker trams that went leaping by, streaked with light like the villages celebrating their festivals, which t
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Literature
Imagist Manifesto
Imagism
   Name given to a movement in poetry, originating in 1912 and
   represented by Ezra Pound, Amy Lowell, and others, aiming at clarity
   of expression through the use of precise visual images. In the early
   period often written in the French form Imagisme.
                                   IMAGIST,
   A group of American and English poets whose poetic
   program was formulated about 1912 by Ezra Pound--in
   conjunction with fellow poets Hilda Doolittle (H.D.), Richard
   Aldington, and F.S. Flint--and was inspired by the critical views of
   T.E. Hulme, in revolt against the careless thinking and
   Romantic optimism he saw prevailing.
   
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Literature
The Linebreak
The Linebreak
A line has three points of strength: its beginning in correlation with the prior line's end, its end in correlation with the next line's beginning, and its strength as a separate unit in the narrative development.
The first two points are points of emphasis; the first word, or possibly phrase, is emphasised by its primary position. Likewise, the word or phrase at the end of the line receives emphasis. Both of these points in a line form a logical link: the ending of a line leads on to the beginning of the next, particularly if enjambed. This allows a twist in meaning to be achieved by the break. At this point things become a little vaguer, since both 'meaning' and subsequently 'twist' are difficult to pin down. The twist may come in a pun, a shift of narrative focus, a change in sonics, in voice, or simply something worth emphasising.
The third point is the strength of the line as a unit. A line should in its own way advance the narrative of a poem significantly an
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Favourites

Journal
The MIMESIS Digital Chapbook Initiative Ends
From the website -- ( http://www.mimesispoetry.com )
2008 MIMESIS DIGITAL CHAPBOOK INITIATIVE
:bulletpurple:The joint winners are Jeff Calhoun with How to make yourself a small target, and Alistair Noon with across the water. Congratulations to you both!
    :bulletpurple: The highly commended entries are also be published online. They are:
E. Kristin Anderson, In Travel    (PinkyMcCoversong)
Ian McLachlan, Necropolis         (venturus)
Adham Smart, The Errorist
Carolyn Srygley-Moore, Enough Light on the Dogwood
Extracts from all of these will appear in the print edition of Mimesis 5.
     :bulletpurple: Many thanks to all of you who entered. Without your support, this would not have been possible. Competition was stiff, with many terrific pieces of work, which we enjoyed considering very much. Don't be disheartened if
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Journal
MIMESIS Digital Chapbook Initiative: Competition!
To celebrate the launch of the new website</b> for the Mimesis poetry journal, we're running a miniature chapbook competition. Details are as follows:
A chapbook is a small collection of poems that complement each other in some way -- whether by direct narrative relationship, or simple thematic links.
:bulletred: A maximum of 15 poems or (reasonably sized) pages, whichever is shorter. Minimum of 10.
:bulletred: Entries should be in PDF format. If pressed, we will accept .DOC as well.
:bulletred: We invite you to lay out your chapbook however you choose. Be creative! You can include illustrations, formatting -- anything you like, really.
:bulletred: Material previously published in journals is acceptable. Poems must not have appeared in books or pamphlets, however (except anthologies).
:bulletred: Entries should be emailed to chapbooks@mimesispoetry.com by midnight GMT on 30th of June 2008.
:bulletred: Entries will be judged by all the Mimesis staf
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Journal
MIMESIS Issue 2 Released
Mimesis 2 is now available either from Paypal on the Order page or from Lulu. If you have some spare cash and a hankering for poetic misdeeds, make sure to buy a copy!
More information about the issue can be found here.
Spread the word!
Of course, what this also means is that we're now looking for fresh submissions to Mimesis 3! Check out the Submissions page: http://www.mimesispoetry.com
:bulletgreen: IN THIS ISSUE
:bulletred: Poems from:
E. Kristin Anderson, Kirsten Irving, Patrick Loafman, Ian McLachlan, Charles Musser, James Owens, Amanda Rogers, Charlotte Runcie, Kasper Salonen, Salli Shepherd, Andrew Shields, Todd Swift
Also: an interview with poet George Szirtes.
:bulletred: Artwork from:
Bjorn Bauer/BjornBauer (cover) and "Sarah Hayes"/thepurplemonster.
:bulletgreen: Sample poem
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Journal
MIMESIS - website launch of new literary journal
Mimesis is a new international poetry journal. We are interested in publishing the most exciting poems currently being written, by big and small names alike.
The mimesis website is up. Check it out.
Want to support contemporary poetry both here on dA and elsewhere? Please do pre-order a copy of issue 1</b>. I can assure you the poetry in it is damn fine.
Want to see your own work (poetry, b/w illustrations, poetry-related articles) in print? Feel free to submit some work. Take a look at the submissions page on the site. Accepted contributors receive a free copy of the mag.
Any mention of mimesis in journals or wherever you can is much appreciated. The mag is a labour of love, and as such we need everything we can get to just stay afloat.

Issue 1 contains:
--48 Poems from:
Julie Carter, Brent Fisk, Rebecca Kutzer-rice (musical-nymph), Jee Leong
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Comments


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:iconajsanaje1:
ajsanaje1 Featured By Owner Jan 11, 2012  Student Traditional Artist
Hey,
There's this writing group called 'DuelWriting' where writers are challenged by fellow writers in writing.
If you are interested, please click on this [link]
Reply
:iconlit-twitter:
Lit-Twitter Featured By Owner Aug 21, 2010
I guess this one's bitten the dust, but happy DA Birthday anyway.
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:iconatrue:
ATrue Featured By Owner Feb 7, 2009
Hey. this person wrote something about you in their blog.. CLICK HERE
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:iconsaartha:
saartha Featured By Owner Feb 7, 2009  Hobbyist Writer
The link is a phishing site, do not click it. Someone has stolen ATrue's password.
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:iconannearty:
annearty Featured By Owner Oct 15, 2008
Am I only allowed to submit current poetry or is it in order to submit some existing ones?
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:iconspanishrubi:
spanishrubi Featured By Owner Sep 21, 2007
I have added you to my watch -- a definite smart move on my part. I adore your efforts. I'll be back often, for sure.

-Mai
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:iconmoonbeams:
Moonbeams Featured By Owner Jul 13, 2007
You're essay on Abstraction seriously helped me out a lot. I never really knew what was making some of my poems so ineffective and vague. It would be something I just couldn't put my finger on. They were just missing something. At first I thought it might be cliches, but I was going to every effort to avoid them. I'm glad I stopped here. Thanks.
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:iconpoetrylibrary:
PoetryLibrary Featured By Owner Jul 17, 2007
Cool. Tell all your friends. :)
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