Because radical existence is radical resistance, for Issue #6, tiny poetry: macropoetics seeks written, spoken, and visual stories from individuals affected by the United States' new administration. We seek answers to the question, "How do we resist?" and, "How do we exist?" Therefore, we encourage submissions revolving around identity, spirituality, activism, and revolt. This may take any form you choose, whether photographs of peaceful protest, silent meditations to improve the spiritual vibration of your space, or loud, angry, righteous, Nazi-punching intensity. However you exist and resist is the right way. Send up to five poems and as many visual submissions as you would like us to read to email@example.com by April 20th for consideration in our May 6th issue.
After a brief hiatus, your favorite literary journal returns featuring fabulous interviews with Spoken Word poet Fitz Fitzpatrick and a surprise guest! Featuring the sentient words of Daniel Iacob as inspiration, for our February 14 issue, we seek submissions highlighting place and power.
Milford A. Jeremiah writes, "We may define place as the physical aspect of the environment at hand. In other sense, we may define place as the environment removed from the speaker or writer. In some instances, place is the term used to describe the setting in which the issues of writing and other language-related skills are housed and discussed. In the literary world, place is usually combined with time and events to establish what we know as the social setting or the social context of a literary work."
For this issue, we're going back to our roots, with image macros, textual overlays, traditional poetry, gifs, videos, and songs. It will be a veritable mishmash of glorious collage, layering revolution with high resolution. Send no more than 3 poems with an artist photograph and bio; and/or no more than five image macros with textual overlay; and/or no more than five photographs or collages to firstname.lastname@example.org by February 1st.
For the July Issue of tiny poetry: macropoetics, we seek place-based poetry, image-art, photography, paintings, and other media art forms, whether rooted in the rolling plains of the Palouse or the steel buildings in the city.
Feature poet Michael Landreth writes about place in Scrapbook Marginalia, where he pens,
Let’s do this again, go back to the pasture
and get drunk watching horses. Let’s throw up
in the weeds and kiss anyway while summer
drops fruit all around us, our thumbs
in the hollow of its throat.
Why place-based poetry? Scholars say that through place we can know intimacy. Writes Julia Shipley in Aubade,
This spot of blonde grit that isn’t a spot, the way the river isn’t the same river with water sluicing through it at every moment, is part of it. But what I pick is the middle of the road where we sank to our knees to look at a broken shell, then lowered further till the sand shifted and filled the space between the backs of our knees.
Why a road, why the middle of the road, why the middle of a one-lane, sand-packed track? Because it was ours. Our concentration enveloped it, and it absorbed us, offering us one ant hole and a stunted prickle of grass.
Send your place-based poetry to email@example.com by July 1st, and our team of readers will get back to you. We hope to read your work soon.
The role of the mother in literature is profound and strange. There is the desperate mother, like Cersei Lannister in Game of Thrones, whose redeeming quality is her doomed love of her children. There is the stepmother, evil and jealous, the cooing mother, all chubby-cheeks but destined to be left behind. There is Niobe, of Grecian lore, who was blessed by children only to have them taken away because of her pride. Then there is a woman of Biblical times, who looked back to her old life in the destroyed cities of Sodom and Gomorrah and was turned to a pillar of salt. She was known only as Lot's wife, and we forget that she had two children, daughters, that she left behind. We do not forget the sacred stories of Ruth and Naomi, nor the Haida story of the Mother Bear. The mother is meant to be the protector, the one who balances, nurtures, and provides. And yet, as we see in all of the above stories, through shades of nuance, through sadness, through personal pain, it cannot always be this way. Today, in tiny poetry: macropoetics, we saw many posts about mothers. We celebrate those whose mothers are close to them, like Daenerys Targaryen, the Mother of Dragons, whose children eventually save her. We consider, and hold close, those who can't be with their mothers on this day, those who have lose them to sadness, to mental illness, to what dreams come beyond this vale of tears. Through all of this, we celebrate the resilient woman who lives on. We celebrate the body of the woman, the substance of the poet, and the community that brings us all together.
What if Medusa had cut off Perseus's head? What if Ophelia were referenced not as a daughter, sister, and lover, but as a human, to be mourned in her own right, and not in reference to the men around her? In Game of Thrones, the rape of Sansa Stark is filtered through Theon Greyjoy's gaze. But what of her own unequivocal sadness? And how can we begin to subvert these carefully deployed media tactics that paint women as less-than: less than real, less than actualized, human only in their relation to men?
For Issue III of tiny poetry: macropoetics, we seek out the performative feminine, the autonomous grotesque, the rogue-girl burlesque: gurlesque. We want clapback poetry that mocks anti-woman culture, ventriloquism and self-satire; we want power and destruction; we welcome expressions of defeat, of disaster, of desire. The body of a woman has been, in all countries and historical periods, a site of cultural conflict. We seek poems that reclaim the body: the blood, the mouth, the gaping orifice. Feature poet Canese Jarboe asks for the "unladylike," don't-cross-your-legs, your mouth is wide and open: to what end?
Send woman-centric poetry (preferably by woman or non-men) to firstname.lastname@example.org by April 15th for inclusion in the May 1st edition of tp:m.