SUNDAY ANNOUNCEMENTS: Calls for Submissions, Contests, Events and Other Information and News


Opportunity Knocks

ABSINTHE: A Journal of World Literature in [English] Translation, hosted by the Department of Comparative Literature at the University of Michigan, publishes fiction, poetry and creative non-fiction by living authors. No unsolicited manuscripts. Query only. Details HERE.

ALLUVUM, 21st century writing / 21st century approaches offers academics the possibility to publish “topical columns that are intended to reflect upon key issues and emerging trends in literature and literary criticism…”  Details on becoming an Alluvium contributor are HERE.  

CHICKEN SOUP FOR THE SOUL publishes poems and true stories. No submisson fee.  Paying market. Open call for submissions for 2018 Christmas and Holiday collection HERE

GNU JOURNAL all genres are created equal accepts literary fiction, poetry, and creative nonfiction and is “friendly to genre fiction, YA literature, short plays, comics, photography, and writing that defies classification.”  Published online once a year and by MFA students at National University. No submission fees. Details HERE.

KWELI JOURNAL (Kweli is the Swahili word for “truth”) celebrates “community and cultural kinships.”  Demographic restrictions. Publishes fiction (short stories or novel excerpts), nonfiction and poetry online and in print. $3 submission fee for multimedia only.  Submit through May 30.  Details HERE.

RAMINGO’S PORCH has an open call for submissions. Deadline is January 26. Details HERE.

THE BELLADONNA COMEDY by “all women and non-binary/genderqueer writers however green or seasoned to submit.” No poetry. Demographic restrictions. Seeks comedic and satirical pieces. Details HERE.

THE BeZINE, Be Inspired, Be Creative, Be Peace, Be December issue – themed Spirituality (Spiritual Paradigms, Awakenings, Miracles)  is now open and the deadline is December 10thNEW RULES: Please send text in the body of the email not as an attachment. Send submissions to me (Jamie) at Publication is December 15th. Poetry, essays, fiction and creative nonfiction, art and photography, music (videos or essays), and whatever lends itself to online presentation is welcome for consideration.  No demographic restrictions. Please read at least one issue and the Intro/Mission Statement and Submission Guidelines. We DO NOT publish anything that promotes hate, divisiveness or violence or that is scornful or in any way dismissive of “other” peoples.

The BeZine will go to a quarterly schedule in 2018:

  • March 2018 issue, Deadline February 10th. Theme: Peace.
  • June 2018 issue, Deadline May 10th. Theme: Sustainability
  • September 2018 issue, Deadline August 10th, Theme: Human Rights/Social Justice
  • December 2018 issue, Deadline November 10th, Theme: A Life of the Spirit

Suggestions for sub-themes are still being reviewed. Send yours to

The BeZine is an entirely volunteer effort, a mission. It is not a paying market but neither does it charge submission or subscription fees.

I do consider previously published work if you hold the copyright and I encourage submissions from beginning and emerging artists as well as pro. I am especially interested now in short stores, feature articles, music videos and art. / J.D.

THE COLUMBIA REVIEW, the oldest college literary magazine in the nation, will reopen for submissions in February. Does accepts submissions from poets, writers, and artists outside the University. Print and online publication twice yearly. Details HERE.

THE WAX PAPER (after the Studs Turkel radio show The Wax Museum) “a broadsheet publication open to all forms of written word, image, and collected conversation. The first priority of The Wax Paper is to expand our understanding of the people we share the world with, and in doing so, expand our understanding of ourselves. Pieces will be selected on their ability to illuminate the humanity and significance of the subjects that inhabit the work.” Submittable says “current reading period is open through June 30th.” Whether that means 2018 or 2017, I don’t know. I think she may have forgotten to update the page. Meanwhile, The Wax Paper IS currently open for submissions. Details HERE.

WHALE ROAD REVIEW accepts submissions of poetry and short prose in December. Open to submissions of reviews and pedagogy papers year-round. Details HERE.


VITA BREVIS is a fledgling publication. The Vita Brevis teams tells me that readers of The Poet by Day are just the kind of prospective contributors the editors seek.

I am so taken by this graceful and peaceful new effort that in spite of their fledgling status I sent them some poetry, see Wabi Sabi (inspired by Leonard Koren, Wabi Sabi for Artists, Designers, Poets & Philosophersand One Lifetime After Another this coming Tuesday.

Introducing the new kid on our literary block:

Ars longa, vita brevis” (art is long, life is short). This maxim so moved us that it seemed only right to title our literary magazine after it. It may seem curious that we chose Vita Brevis (life is short) as our title instead of Ars Longa (art is long). But this choice was more than appropriate; after all, the aim of our magazine is to publish work that shows a keen awareness of not only art’s beauty and immortality but life’s toils and finiteness. We want to revive and nourish the rich existential literature that forms when art and the human endeavor collide.

“Our team is small, young, and not one for the spotlight. Perhaps, you will never know us by name, but know that we will be reading and analyzing your work from our university dorms, fixated on bringing it to as many readers as possible–fixated on inspiring the second wave of existentialist literature. With that, we give all literary poets and writers our call-to-arms–send us your best work, and let us see what it can do!”

The Vita Brevis Team

Give them some love: visit, read, “Like,” comment, submit work, promote, donate and encourage them. Theirs is a clean and clear effort with what promises to be well-curated poetry and art. They’re off to a fine start and with little noise about it and no self-aggrandizement.

  • Vita Brevis has an open call for submissions and clear guidelines. No deadline.
  • Vita Brevis is sponsoring a three-line (eighty word) writing contest. Again, the guidelines are clear. The deadline is December 10th.


“A poem is a way into a person’s heart …” Pearl*

a special opportunity for youth

POWER POETRY ( “is the world’s first and largest mobile poetry community for youth. It is a one-of-a-kind place where you can be heard. Power Poetry isn’t just about poetry: it’s about finding your voice and using it change the world!”

If you are reading this from an email subscription, you’ll likely have to link through to The Poet by Day site to view this video.

* Pearl was featured in the film To Be Heard (2010), reviewed HERE in Slant Magazine



THADDEUS HUTYRA announced a new CHALLENGE competition. Your poem may contain any theme and be written in any poetic form. Details HERE on the Facebook public poetry group, Poetry Universe.

2018 PETER PORTER POETRY PRIZE, International Competitions. Entries are welcome from poets anywhere in the world. There is no age limit. “The Porter Prize is one of Australia’s most lucrative and respected awards for poetry. It honours the life and work of the great Australian poet Peter Porter (1929–2010).” Australian Book Review. Deadline: December 3, 2017. Details HERE.


  • Montmartre Mondays, La Cave Cafe, 134 rue Mrcadet, 75018, Paris France, 7:30 pm. “Monday nights in Montmartre at the lusciously low-key yet soignée Cave Café from 19h30 ’til the last metro, pianist-around-town Sheldon Forrest brings his versatile accompaniment to your turn at the vocal mic or playing along in the jam session blend, welcoming everyone to let your hair down in the wake of the weekend and get a collective groove going just right. As intro and outro, DJ Objet brings signature mixes of downtempo electronica with left-field classics from all genres for your listening and/or rug-cutting pleasure. Entrée libre always (hat-pass contributions most graciously appreciated) – Come on out to start the week on the good foot!”
  • The Dodge Poetry Festival 2018, the largest poetry event in North America will return to Newark, New Jersey from Thursday October 18th through Sunday October 21, 2018. For four days Newark’s vibrant downtown Arts District will be transformed into a poetry village featuring some of our most celebrated, diverse and vibrant poets and spoken word artists. Details HERE.

Accessible anytime from anywhere in the world:

  • The Poet by Day always available online with poems, poets and writers, news and information.
  • The Poet by Day, Wednesday Writing Prompt, online every week (except for vacation) and all are invited to take part no matter the stage of career (emerging or established) or status (amateur or professional). Poems related to the challenge of the week (always theme based not form based) will be published here on the following Tuesday.
  • The Poet by Day, Sunday Announcements. Every week (except for vacation) opportunity knocks for poets and writers.
  • THE BeZINE, Be Inspired, Be Creative, Be Peace, Be – always online HERE.  
  • Beguine Again, daily inspiration and spiritual practice  – always online HERE.  Beguine Again is the sister site to The BeZine.


“connnecting poets for greatness”


DSCN2898The dawn of PIN Connect Centres on September 9, 2016 has been a huge success to Poets in Nigeria (PIN). In view of this, and in response to calls for new Connect Centres, applications/indications of interest to serve as PIN representatives for new Connect Centres within Nigerian localities are welcome. MORE


  • TRISH HOPKINS ( for donating $6 per order from her chapbook. ” You can now order a signed copy of my new chapbook Footnote, and for the next couple of weeks all proceeds ($6 per order) go to one of three charities of your choice: ACLU, Lambda, or Utah Humanities.”  Further details HERE.
  • Poets and Publishers MENDES BENITO, CATFISH McDARUS and ME PSKI (PSKI’S Porch Publishing) on the rollout of Ramingo’s Porch,  which is available through Amazon for $10. “I’m very proud of this issue that is the beginning of an amazing journey. First of all I want to thanks my fellows (and masters) Catfish McDaris and Me Pski. Grazie fratelli!’


“But now it’s time to give honor and glory to our authors. Get ready to applaude the works of: Ruben Macias, Carole Bromley, Daniel Snethen, Brenton Booth, Marianne Szlyk, Alexis Rhone Fancher, Michael Dwayne Smith, Paul Koniecki, Alyssa Trivett, Mark Blickley, Catfish McDaris, Ryan Quinn Flanagan, Jesse Lynn Rucilez, Fred C. Applebaum, Janet Madden, Yi-Wen Huang, Wayne F Burke, Adhikari Sudeep, Marc Pietrzykowski, Rona Fitzgerald, Michael Lee Johnson, Lynn White, Linda Imbler, Kurt Lipschutz, Jason Baldinger, Charlotte Ormston, Jamie Dedes, Holly Day, John Patrick Robbins, Guinotte Wise, Francine Witte, Finola Scott, Eric Nicholson, Charles Joseph.” Mendes Benito (Ramingo’s Blog,  La Cultura Come Non Te L’Aspettavie)

SPECIAL REQUEST (deadline December 10, 2017): More and more magazines are charging submission fees and these are in some cases going up. The highest I encountered recently was $23 for the submission of one poem. Sometimes the publication pays writers and poets. Sometimes it doesn’t. This is not new, of course. Its been going on for some years now. It makes me wonder how much of a barrier that creates for writers. I’m collecting material on how you feel about these charges as a poet/writer and/or editor. Fair? Not fair? Okay depending on rate? Okay depending on whether or not they pay poets and writers? That sort of thing. I do plan to share the results of this informal survey at The Poet by Day. I won’t quote you by name without first getting your permission. Please let me know your thoughts about submission fees in the comments section below or by email:  Thank you! J.D.


YOUR SUNDAY ANNOUNCEMENTS may be emailed to Please do so at least a week in advance.

If you would like me to consider reviewing your book, chapbook, magazine or film, here are some general guidelines:

  • send PDF to (Note: I have a backlog of six or seven months, so at this writing I suggest you wait until June 2018 to forward anything. Thank you!)
  • nothing that foments hate or misunderstanding
  • nothing violent or encouraging of violence
  • English only, though Spanish is okay if accompanied by translation
  • though your book or other product doesn’t have to be available through Amazon for review here, it should be easy for readers to find through your site or other venues.

Often information is just thatinformation – and not necessarily recommendation. I haven’t worked with all the publications or other organizations featured in my regular Sunday Announcements or other announcements shared on this site. Awards and contests are often (generally) a means to generate income, publicity and marketing mailing lists for the host organizations, some of which are more reputable than others. I rarely attend events anymore. Caveat Emptor: Please be sure to verify information for yourself before submitting work, buying products, paying fees or attending events et al.


“Petrichor Rising” and how the Twitterverse birthed friendships that in turn birthed a poetry collection

product_thumbnail-3.php“I always had this notion that you earned your living and that poetry was a grace.” Seamus Heaney (1939-2013), Irish, poet, playwright, translator, educator and Nobel Prize winner

I’m sure my friend, John Anstie, poet and renaissance man, The Bardo Group core team member, and editor of and contributor to Petrichor Rising (eBook and paperback), a 2013 poetry collection of The Grass Roots Poetry Group (GRPG), would prefer that I focused on the poems and the collection. The feature-writer in me loves a good story though. (Forgive me, John!) The coming together of this group and the publication of their collection is as good a story as any and better than most … and hence, I break my usual self-imposed word limit on posts. Read on … You may recognize yourself in some of this …

“I do accounting. I am a writer.” an employee corrected me when I introduced him as an accountant.

I spent many years in the employment and training field, serving in sundry positions and writing columns, feature articles and journal pieces ad nauseam about recruiting and job search, chosing careers, assessing post-secondary vocational education programs, structuring community programs for at-risk populations (read the poor and marginalized), as well as writing about labor and job market trends including changes evolving out of advances in technology.

Wherever I worked whether it was counseling, placing executives in career positions or teaching career development and job search to ex-offenders or people transitioning off welfare, I found the same thing. Scratch the surface of almost anyone and you will find an artist.  Several of the poets to this anthology earn or have earned their living doing something other than writing. John Anstie talks about discovering his “inner poet.” At core, we are creators.  This is a great truth about human beings.

It used to be that most evidence of creativity ended in storage somewhere: dresser drawers, file cabinets, attics or garages … until the accessibility of social networking and self-publishing via blogs, videos, blog radio and other venues. Now  creatives have easy means to deliver their work independently and to find their own audiences, modest but genuine. No longer unknown, these poets and artists join the ranks of lesser-knows. They also have a wider opportunity to meet others with the same interests and values.  Put the mix together – a wonderous serendipity – and the birth of productive collaborations …

Freinds in the Forest (eCollage by Anu) (c) all rights reserved
Friends in the Forest (eCollage by Anu) (c) all rights reserved

“As far as I recall, it all started with freshly-baked lemon drizzle cake . . . ‘@peterwilkin1: Good Morning. Coffee & lemon drizzle cake, anyone?’ …. One may be forgiven for thinking the GRPG is an international social network-based association for the deep appreciation and virtual consumption of cyber cake and other comestibles. Indeed this is what they do, but they also do something else remarkable – they write poetry – delightful, delicious, scrumptious, tasty, and delectable at that, poetry.” Introduction, Craig Morris

And thus it began, with friendly – often quick-witted – Twitter chat and an affinity evolved. Two years later Petrichor Rising was born and featured artwork by one, the Introduction by another, and the poetry of the rest.  How did they pull it all together?

Interview with John Anstie


JAMIE: Expanding on your piece about editing Petrichor Rising (posted this evening on The Bardo Group): Learning to use language gracefully and words accurately is a lifelong challenge (and a pleasure); but editing English when the works are from such diverse regions of the world throws extra spice into the mix. There are many variations on the themes of grammar, spelling, and on syllable accent and speech inflection, how did you approach that particular challenge?

JOHN: Your first question is not a question, it is several questions, which, as you imply, could take me a lifetime (and possibly a few pages) to answer! But the simplest way I can answer this is to be entirely honest. By and large, I took each piece as it was presented and interpreted it as it was written. Grammar and spelling was not really a problem, since I left the words spelled as they were presented; my two North American friends, Jackie and Joe, if they used American English spelling, that’s how it stayed, of course. There were few issues in the grammar department. As for syllable stress and speech inflection, I had little issue with the effects of these on scansion, since almost all of the poems, except some of my own, were pretty much in the ‘free verse’ form. But you certainly have raised a valid issue for editors of international poetry collections.

JAMIE: How did you work out the collaboration? The book is admirably unified and surely there must have been some back-and-forth about which poems to use from each poet and how to organize the sequence.

JOHN: Over the two years of its gestation, there were a few changes of poems. Some of the original poems submitted were withdrawn, because of submissions elsewhere and a handful were edited and resubmitted for inclusion. The sequence was the greatest challenge for me. Initially, I asked each poet to attach key words or tags to each of their own poems, from which I intended to attempt dividing the whole body of work into sections. That didn’t work, simply because I inevitably ended up with too many key words. In the end, after we’d decided on the title, I felt it important that any themed sections should reflect the theme of the title in some way. So I worked through the whole collection of sixty-five or so poems and categorised them myself. The three sections were the end result of that part of my work on the book.
JAMIE: Have you had the opportunity to speak by phone or meet in person with any of the members of the Group? If so, what was that experience like.
JOHN: Five of us live in the UK. It was Louise, who bravely blazed a trail to Yorkshire to stay with Peter and his wife for a week. I guess she judged him to be trustworthy enough (and not the mad axe murderer he might have been!). I  journeyed up to meet them both on neutral ground. We spent a fruitful and enjoyable day in each other’s company. Shan and Abi were the next to visit Yorkshire. I’ve lost count of how many times we met after that, including a couple of poetry readings at Ally Wilkin’s shop “Crystal Space” (one of the locations in Peter’s and Marsha’s joint publication, “Brianca and The Crystal Dragons”). All of this was capped in a confluence in May 2012, when the five of us from the UK, along with Joe and Quirina, who flew in from Albany, New York and Germany, came together in London – photos of this are in my Facebook album of that day HERE.
It was a very happy day, but one that wasn’t long enough for us all. Finally, last June, Marsha came to the UK for a conference in Leeds. She lodged with Peter and Ally for the first part of her stay and with me for the last part. It was very special to meet her too. So, in answer to your question, I’ve met nearly all of them; only Jackie in New York and Craig in South Africa have yet to meet us. Quite incredible, considering we only met on Twitter two and a half years ago! One final twist to this tale, to cut a long story short, is that Abigail turns out to be the daughter of an old school friend of mine, whom I had very recently met up with again along with another friend! It’s a very small world!
JAMIE: What made you choose print-on-demand over ebook? Does the GRPG plan to offer the book in ebook format? It a lovely volume, and I think would make a fine addition to anyone’s poetry library. These days, though, many appreciate ebooks for their portability as well as the saving grace of saving shelf-space.
JOHN: Print on demand, in the end, seems like a very sensible choice. Self publishing would have been difficult, deciding how big a print run dramatically affects the cost-per-unit economies. However, it was the publisher, Aquillrelle, who determined the route to print and we chose them, because they had published Marsha’s collection, “Spinning”, and she was very impressed with their service and attention to detail. It proved to be a good choice for me, as their Chief Editor, did have a keen eye for detail. As for the ebook, Amazon should have produced one by now, but it’s not happened yet. I suspected it might be a demand thing; I’m not sure. Even though I own an iPad Mini, which is, of course, a perfect ebook reader, it has to be said that I prefer to have a real book in my hands.
Note: I see that Lulu has an eBook available since we did this interview. The link is above in the opening paragraph. Jamie
JAMIE: Would you do it all again and if so, why?
JOHN: I think the answer is yes, probably, but not in the same way. What would I do differently? I couldn’t answer that until I saw the material I was working with. However, there are two more projects on my horizon before another anthology comes along. The first is going to be some kind of account of the story of an historic house, gardens and estate, for which my wife and I are members of the volunteer teams. The second may be my own first full collection. Then, for the sake of my family history, maybe I ought to complete my own autobiography.
Book Review in Brief
 Petrichor – from the Greek pɛtrɨkər, the scent of rain on the dry earth.
I dislike using the word “accessible.” There have been times when I’ve wondered if that is code for a lack of intricacy or profundity. The work here is comprehensible but still complex. The poems move from nostalgia to appreciation, from the beauty of nature to the frailties of humanity, from sorrow to hope. From Craig Morris’ Introduction, which sets the mood, to Joe Hesch’s theme poem Petrichor, which closes the book, it’s a joy. Well organized with the weather metaphor as the through line, the sections are The Drought, Gathering Storm, and The Rain. Its hallmark is the show of humanity at its best.

This morning I will cast open the curtains, chasing the fear away
and hold this crystal up to the sunlight, releasing my soul to fly

– Prism, Abigal Baker

…. and at its worst

Haunted by
proper thoughts
of his wife at home
he wryly recollects
how he told her
before friends and family
on their silver anniversary
“I love every wrinkle,
every scar I celebrate,
such wonderous depths
are etched upon your body
a cartography of our marriage
I love the silver in the gold
of our hair”
then renewed
his marriage vows
his fingers crossed,
avoiding his own reflection
in the mirror

– Cracks of Angst: A Portrait of an Unhappy Man, Marsha Berry

Both my thumbs up on this one. There’s still time to order Petrichor Rising for the holidays and profits go to UNICEF, making it a definite win-win.

© 2013, feature article, Jamie Dedes, All rights reserved
Artwork and poetry quotes are the property of their creators