The Fabulous 40: Sister Journals to Read, Support, and Submit to in 2016

by Tisha Marie Reichle

NPG x126136; Jackie Collins; Joan Collins by Terry O'Neill
by Terry O’Neill, bromide fibre print, 1970s

When setting your reading and writing goals for 2016, consider the work being done by other women writers and editors – people like you! Think about subscribing to one or more of the journals listed below. Make a conscious effort to read print and online journals edited/curated by women writers. Submit your work regularly to the journals and magazines that address themes you are writing about. As we move towards being more responsible literary citizens in the upcoming year, keep our sister writers in mind. (Information below is edited from each journal/magazine website information.)

If there are publications that have not been included on this list, please add a brief description and a link in the comments below so others can learn about it and we can update our information.

13th Moon: A Feminist Literary Magazine
Founded in 1973 in the ferment of early second wave feminism, as a home for women writers and their readers. Because the surrounding culture has tended to erase women writers from history, their work has needed rediscovery, preservation and its own dedicated space each generation.

Adanna Literary Journal: a journal for women, about women
A name of Nigerian origin, pronounced a-DAN-a, is defined as “her father’s daughter.” Women over the centuries have been defined by men in politics, through marriage, and, most importantly, by the men who fathered them. Today women are still bound by complex roles in society, often needing to wear more than one hat or sacrifice one role so another may flourish. Submissions must reflect women’s issues or topics, celebrate womanhood, and shout out in passion.

Adrienne
This is an intermittently published literary journal featuring poetry by self-identified queer women. Work need not be lesbian themed. The definition of “queer women poets” is also a flexible term; they welcome work by women who identify as queer, lesbian, dyke, bisexual, and trans* as well. Each issue is built around a small number of poets and showcase the variety within the queer poetry community. They are not looking for any one style or form; each issue will represent multiple poetic forms, including traditional poetry, prose poetry, spoken word poetry translated to the page, and experimental poetry.

Bitch: Feminist Response to Pop Culture
A nonprofit, independent, feminist media organization dedicated to providing and encouraging an engaged, thoughtful feminist response to mainstream media and popular culture seeks to be a fresh, revitalizing voice in contemporary feminism. They are uniquely situated to draw in young readers who are at a critical moment in their lives—a moment when they are discovering feminism and activism, finding answers to who they are, and questioning the definitions of gender, sexuality, power and agency prescribed by the mainstream media.

Blackberry
A magazine devoted to sharing the literary voices of black women. This online journal is run by women who strongly believe in its mission to showcase a new generation of writers as well as illuminate voices from the past that may have been ignored.

Bluestockings Magazine
A feminist multimedia publication with a gender-aware perspective and an anti-oppression framework. Their feminisms are rooted in opposition to all forms of oppression with an understanding that feminism links together the political, the structural, and the personal. They aim to center voices from marginalized and historically resilient communities across intersections of color, race, ethnicity, religion, nationality, immigration status, disability, gender identity, sexuality, class, substance use, status of incarceration, experience of violence and trauma, and other identities not listed here. They accept work from every genre and medium, and highly encourage work from people of color with intersectional identities. They also welcome work from first-time contributors, who can expect a hands-on editing process from the team.

Bone Bouquet
A biannual online journal seeking to publish the best new writing by female poets, from artists both established and emerging. They aim to highlight the important work of female poets, who are often underrepresented in the writing community and popular media. Rather than personal politics, their criteria are excellence and vibrance. Rather than segregating the poetry of ‘women’s issues’ from ‘regular’ creative work, their goal is to provide an additional arena to make work more visible to readers, building their reputations as artists.

Calyx: A Journal of Art and Literature by Women
A forum for women’s creative work—including work by women of color, lesbian and queer women, young women, old women—CALYX Journal breaks new ground. Each issue is packed with new poetry, short stories, full-color artwork, photography, essays, and reviews.

damselfly press: A gathering of women’s voices
The name is derived from the tenacious damselfly, a unique and highly independent insect whose remarkable compound eyes allow her the advantage of examining many aspects of her environment. They value writing that soars beyond common perceptions and seek to promote exceptional writing by women. They welcome fiction, poetry, and nonfiction from female writers of all experiences. They are interested in work that is honest and explores human nature; there is truth even in fiction.

The Fem
It is a literary journal that publishes feminist, diverse, and inclusive creative works and interviews with writers, artists, and creators twice a week. They practice intersectional feminism, and seek to act as a safe space for both readers and writers from marginalized groups.

Feminist Formations
It is a forum where feminists from around the world articulate research, theory, activism, teaching, and learning, thereby showcasing new feminist formations. An interdisciplinary, peer-reviewed journal, they publish innovative work by scholars, activists, artists, poets, and practitioners in feminist, gender, and sexuality studies. A permanent section of the journal devoted to contemporary feminist poetry is designed to push at the bounds of academic knowledge production to make space for creative writers whose work can help us to see, learn, and experience from fresh angles.

Feminist Studies
They are committed to publishing an interdisciplinary body of feminist knowledge that sees intersections of gender with racial identity, sexual orientation, economic means, geographical location, and physical ability as the touchstone for our politics and our intellectual analysis. They welcome all forms of written creative expression, including but not limited to poetry and short fiction in all forms. They are interested in work that addresses questions of interest to their audience, particularly work that pushes past the boundaries of what has been done before. They look for creative work that is intellectually challenging and aesthetically adventurous, that is in complicated dialogue with feminist ideas and concepts, and that shifts readers into new perspectives on women/gender.

The Feminist Wire
It is a peer reviewed online feminist publication. They welcome essays, interviews, op-eds, stories, poetry, plays, and visual art that explicitly deploy a feminist lens, and define feminism very broadly. They are also committed to anti-racist and anti-imperialist approaches.

Hip Mama
This is the original alternative parenting magazine, covering subjects from weaning to home schooling with humor and political edge. It is a forum for single, urban and feminist mothers. And the December 2015 issue features WWS member Lisbeth Coiman!

Iris Magazine: for thinking young women
After more than 30 years of publication, they continue to celebrate and empower young women through provocative pieces. Their mission is not only to showcase women’s achievements at the University and within Charlottesville, in support of the women’s community and in conjunction with the Center’s mission to creating change, but to also underscore the relevance of women’s issues throughout the community to foster change and highlight accomplishments.

Lavender Review
Born on Gay Pride Day, June 27, 2010, it is an international, biannual (June & December) e-zine dedicated to poetry and art by, about, and for lesbians. This e-zine is free, and open to everyone.

Lilith Magazine
Independent, Jewish & frankly feminist since 1976, it charts Jewish women’s lives with exuberance, rigor, affection, subversion and style. Their work includes bold reporting and memoir, original fiction and poetry, and a lively take on tradition, celebrations and social change.

Literary Mama
Since 2003, they have featured writing about the many faces of motherhood, including poetry, fiction, columns, and creative non-fiction that may be too raw, too irreverent, too ironic, or too body-conscious for traditional or commercial motherhood publications. They honor the difficult and rewarding work women do as they move through motherhood by providing a smart, diverse venue to read, publish, and share mama-centric stories.

Lumen Magazine
It is a project for (and by!) women and nonbinary people. They are interested in poetry, fiction, personal essays, and interviews that examine how people move through the world, both as complex individuals and as members of larger communities. The conversations they are interested in are those that shed light on our stories—our struggles, our triumphs, and all the in-betweens.

Luna Luna Magazine
It is the dreamer’s lifestyle diary where readers can indulge their good and bad sides in the quiet conversations, the confessions, the uncomfortable, the indulgent and the beautiful. They aim to capture everything that makes our world so powerful: beauty, light, nuance, oddities, opulence, magic and desire. They consistently profile brave, unapologetic, feminist and creative thinkers from all walks of life. They focus heavily on the personal, intimate, literary, artistic and occult.

Minerva Rising
It is an independent literary journal celebrating the creativity and wisdom in every woman. They publish thought-provoking fiction, non-fiction, photography, poetry and essays by women writers and artists. It has grown out of a love of literature and the knowledge that when women come together, we flourish. Just as the Goddess Minerva represented creativity, wisdom, medicine, commerce, arts and education, the journal provides the opportunity for and the evidence of that bounty.

The Mom Egg Review: Literature & Art
An annual literary journal by and about mothers and motherhood. Celebrated writers and new talents explore the experience of motherhood from diverse perspectives and examine the nexus of motherhood with other identities, cultural and personal. Multi-ethnic and multi-generational, it tells important stories ignored or marginalized by other publications, and nurtures exciting literary talents.

MP
It is an online, peer-reviewed, international feminist journal. Their goals are to provide an intelligent forum for feminist discourse in cyberspace and provide space for a variety of voices on issues of gender and power. They believe that words can change the world!

Mslexia: for women who write
It tells you all you need to know about exploring your creativity and getting into print. No other magazine provides their unique mix of debate and analysis, advice and inspiration; news, reviews, interviews; competitions, events, courses, grants. All served up with a challenging selection of new poetry and prose.

Ms. Magazine
A brazen act of independence in the 1970s, the authors translated a movement into a magazine. It is the first national magazine to make feminist voices audible, feminist journalism tenable, and a feminist worldview available to the public. Today, the magazine remains an interactive enterprise in which an unusually diverse readership is simultaneously engaged with each other and the world. It continues to be an award-winning magazine recognized nationally and internationally as the media expert on issues relating to women’s status, women’s rights, and women’s points of view.

Mutha Magazine
Mutha explores real-life motherhood, from every angle, at every stage, including the ways Moms looked in the 50s and 60s and 70s and the way Moms look now. It explores how people stay creative and vital while raising kids. This is a place online to hang out with all of it, without having pink flowers or digital sprinkles of fairy-baby dust assaulting the aesthetics.

Persimmon Tree
This online magazine is a showcase for the creativity and talent of women over sixty. Too often older women’s artistic work is ignored or disregarded, and only those few who are already established receive the attention they deserve. Yet many women are at the height of their creative abilities in their later decades and have a great deal to contribute. They are committed to bringing this wealth of fiction, nonfiction, poetry, and art to a broader audience, for the benefit of all.

Pheobe: a journal of art and literature since 1971
They support up-and-coming writers whose style, form, voice, and subject matter demonstrate a vigorous appeal to the senses, intellect, and emotions of readers. They choose work that succeeds at its goals, whether it is to uphold or challenge literary tradition. They insist on openness, which means they welcome both experimental and conventional prose and poetry, and they insist on being entertained, which means the work must capture and hold their attention, whether it be the potent language of a poem or the narrative mechanics of a short story.

PMS: poemmemoirstory
PMS proudly features the best literary writing by emerging and established women writers. While a journal of exclusively women’s writing, the subject field is wide open. First published in 2000, the editors seek to include compelling, intellectually rigorous writing that represents a diverse range of women’s voices and experiences. Simply put, they want to be riveted.

Quaint Magazine: a women’s quarterly literary magazine
Quaint publishes dynamic, arresting, and transgressive poetry, fiction, and creative non-fiction by female and gender non-binary writers. They are trans-inclusive and are strongly committed to publishing work from traditionally marginalized writers, giving voice to the strange, the weird, and the unsettling.

ROAR Magazine: A Journal of The Literary Arts by Women
ROAR is a print literary journal that exists to provide a space to showcase women’s fiction, nonfiction, and poetry. We are committed to publishing literature by emerging and developing writers and we aim to support the equality of women in the creative arts. ROAR accepts work that represents a wide spectrum of form, language and meaning. In other words, don’t worry if your work isn’t specific to feminist issues. If you’re a gal, we just want your point of view.

Room: literature, art, and feminism since 1975
Room to read. Room to write. Room to converse across our many differences. Canada’s oldest literary journal by and about women showcases fiction, poetry, reviews, art work, interviews and profiles about the female experience. Each quarter they publish original, thought-provoking works that reflect women’s strength, sensuality, vulnerability, and wit.

Sinister Wisdom
It is a multicultural lesbian literary & art journal that seeks to open, consider and advance the exploration of lesbian community issues. They recognize the power of language to reflect our diverse experiences and to enhance our ability to develop critical judgment as lesbians evaluating our community and our world.

So To Speak: feminism + language + art
They publish poetry, fiction, nonfiction, and visual art that lives up to a high standard of language, form, and meaning. They look for work that addresses issues of significance to women’s lives and movements for women’s equality and are especially interested in pieces that explore issues of race, class, and sexuality in relation to gender. They are committed to representing the work of writers and artists from diverse perspectives and experiences and do not discriminate on the basis of race, class, gender, age, religion, sexual orientation, culture of origin, political affiliation, disability, marital or premarital status, Vietnam-era status, or similar characteristics.

Torch Journal
They publish and promote the work of black women by publishing contemporary poetry, prose, and short stories by experienced and emerging writers alike, to archive contributor’s literary work for posterity and educational purposes, provide resources and opportunities for the advancement of black women writers.

Weird Sister
An online community that makes people laugh, and maybe cry, and always think a lot. One that resonates with our lives as writers and artists and activists and teachers and curators and moonlighters. A website that speaks its mind and snaps its gum and doesn’t apologize. It explores the intersections of feminism, literature and pop culture, featuring essays, interviews, comics, reviews, playlists, secret diaries, and love letters written in invisible ink.

WomenArts Quarterly
They aspire to nurture, provide support, and challenge women of all cultures, ethnicities, backgrounds, and abilities and seeks to heighten the awareness and understanding of achievements by women creators, providing audiences with examples of historical and contemporary work by women writers, composers, and artists.

Women’s Review of Books
They provide a forum for serious, informed discussion of new writing by and about women and a unique perspective on today’s literary landscape, featuring essays and in-depth reviews of new books by and about women. Their goals include advancing gender equality, social justice, and human well-being.

Women’s Studies Quarterly
It is an interdisciplinary forum for the exchange of emerging perspectives on women, gender, and sexuality. Its thematic issues combine psychoanalytic, legal, queer, cultural, technological, and historical work to present the most exciting new scholarship on ideas that engage popular and academic readers alike. It is a peer-reviewed, interdisciplinary journal published twice a year that along with scholarship from multiple disciplines, showcases fiction and creative nonfiction, poetry, book reviews, and the visual arts.

Word Mothers
It is dedicated to showcasing women’s work in the literary arts around the world, featuring female author interviews and women in the book industry discussing what they’re really passionate about. They embrace diversity; minority voices and genderqueer artists are especially encouraged to contribute.


ac9b1d5f-71bc-4c76-92ed-7aa18d1b98edTisha Marie Reichle is a Chicana Feminist and former Rodeo Queen. Her stories have appeared in 34th Parallel, Inlandia Journal, Muse Literary Journal, Santa Fe Writers Project, The Acentos Review, and The Lunch Ticket. She earned her MFA at Antioch University Los Angeles and is the fiction editor at Border Senses magazine.

Claps and Cheers: an End of the Year Submission Celebration

In fall 2014, four of us —Xochitl-Julisa Bermejo, Ashaki M. Jackson, Ramona Pilar, and Tisha Reichle— collaborated on our first WWS grant proposal for the Surdna Foundation’s “Artists Engaging in Social Change” grant. We were not awarded funding, but what resulted was a clear plan for where we saw WWS going over the next year and beyond.

Starting in January 2015, Women Who Submit began holding monthly submission parties with public WWS orientations on the even numbered months. On February 14th, we held our first orientation and submission party at Here & Now in El Sereno where we were joined by three new members.

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Désirée Zamorano leading a talk on confidence at
the December 2015 Orientation.

Over the year, we hosted five public WWS orientations and submissions parties at Here & Now. On the odd numbered months, we started traveling to members’ homes for private submission parties. In 2015, we traveled to Palos Verdes, Chinatown, and Glendale thanks to the generosity of members who invited us into their homes.

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WWS members submitting work at the November 2015 submission party.

2015 has been a big year for Women Who Submit, and we are always up for celebrating accomplishments. Besides our commitment to monthly submission parties and bimonthly public orientations, we also built this blog, commissioned a logo, activated a Twitter account, presented at Lit Crawl L.A., held panels at Antioch University and the Pasadena Playhouse, hosted a 2nd annual WWS Submission Blitz at The Little Easy in Downtown L.A., and now we are assisting the development of WWS chapters in other cities including Las Vegas and San Francisco.

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Laura Warrell reading before a packed house at Lit Crawl L.A. 

But we don’t want to only celebrate the organization’s accomplishments. Individual members have been hard at work writing, submitting, tracking, and publishing and in order to celebrate their efforts, we sent a call asking members to share their submission numbers (submissions, rejections, and acceptances). 15 women responded to our request, and we now celebrate the following collective numbers based on their own records:

423 submissions
173 rejections
79 acceptances
171 pending

Thank you to the following journals, presses, conferences, residencies, and funders for accepting work from one or more of our members. We also celebrate the work you did over the year reading submissions, sending out responses, editing and publishing work in order to share exciting and new voices with the larger community.

Accentos Review
Al Jazeera America
American Poetry Review
Barbara Deming Fund
BinderCon
Cactus Heart
Cal Arts
Callaloo Workshop
Cave Canem/VSC
Cherry Tree
crazyhorse
CURA: A Literary Magazine (#BLM)
The Daily Dot
Economic Hardship Reporting Project
Finishing Line Press
Flash Flash Click
Future Tense Books
Germ Magazine
The Guardian
Hedgebrook
HelloGiggles
The Huffington Post
Hometown Pasadena
Horse Less Review
Hunger Mountain
Inch
Into the Heart of Addiction
The James Franco Review
Jezebel
KCET Departures
KCRW
LA Review of Books
The Los Angeles Times
Lumen Magazine
Lunch Ticket
The Manifest-Station
Miel and 111O Press
MUTHA Magazine
Mujeres de Maiz
The Nervous Breakdown
New Madrid
The Philadelphia Review
Pluck!
Poets & Writers
Prairie Schooner
Red Hen Press
Redux
RoleReboot
Rose City Sisters
The Rumpus
The Rusty Toque
Solo Parent Magazine
Sundress Publications
Sundress Political Punch Anthology
TAB: The Journal of Poetry & Poetics
Tahoma Literary Review
Tia Chucha Press Coiled Serpent Anthology
Thread Makes Blanket
Tucson Festival of Books
Upper Rubber Boot
Vida Web
YesYes

Please leave us a comment sharing where you’ve been accepted this year. We want to clap for you too!

Claps and Cheers: A WWS Publication Round Up

Over the last month, WWS members have been getting work published and some have won awards. Here is a brief look at a few recent publications.11209699_1030527333634119_5403440345070340561_n

From Antonia Crane’s essay, “In rape culture, there’s no such thing as a safe word” published this month in Quartz:

“But as someone who has spent her entire adult life working in the sex industry, I can attest to the fact that women in this business face inherent, unique physical risks. I’ve been bitten, drugged, smacked and ripped off. Years ago, a large man tried to block me from leaving a private room in a nude strip club in San Francisco. When I yelled for help, the person who came running was a stripper named Cinnamon. She yanked him by his shirt from behind. I ran.”

From The Sundress Blog, “THE WARDROBE’S BEST DRESSED: LAUREN EGGERT-CROWE’S THE EXHIBIT:

“When she cranes her neck up at the sky, at night, she shivers. This may be because she is trying to find Scorpio. She is more afraid of falling up endlessly than gravity. The night is colder than it should be. She wonders if one of the spheres has a hole. A leak that hisses the light out like a deflated tire.”

From Ashaki M. Jackson’s poem, “Fulcrum: The Support About Which A Lever Turns; The Part Of An Animal That Serves As A Hinge Or Support,” published in Cura Magazine:

“You consider lynching mechanics and question which was raised first – the rope or the neck. You think of the ease with which dancers lift each other’s bodies at particular curves and imagine a neck hoist bringing a faceless audience to its feet. You ask who is in this audience. You are in the audience.”

From an interview with Karineh Mahdessian and Sophia Rivera, founders of Las Lunas Locas womyn’s writing circle, published last week at La Bloga:

“So, are Las Lunas Locas really locas? How did your nombre lunático come about?

We knew we wanted to name ourselves that which spoke to us, the moon is the most feminine of it all. And womyn often tend to be thought of as “crazy” and “emotional.” In this capacity, we wanted to celebrate all things that are often misjudged and ridiculed. The naming of Las Lunas Locas allows for embracing all that is wonderful and challenging about being a womyn in a patriarchal and misogynistic society.”

From Tisha Reichle’s YA fiction piece, “I want to be a Cowgirl,” published in the latest issue of Lunch Ticket:

“Mom watches from her bedroom window; I can feel her. Not ready to be wrong about my hunger, I stand on the bales of hay stacked behind the heeling dummy. It was painted brown a long time ago and Dad actually put a frayed rope tail so it looks like the skeleton of a steer’s butt. Its rusty pole legs dangle lifeless until I kick them; their squeaky rhythm breaks the morning’s silence. Mom closes the curtain. She hates when I practice roping and defy her orders.”

From Tiana Thomas’ essay, “High Hopes For Thanksgiving (And What It’s Like To Grow Up On A Pot Farm)” published last month at Role Reboot:

“Mom is sitting at the kitchen table with several bags of weed in front of her. She has taken off her jeans, and has a glossy look of heat shining off her face, as she rolls another joint. I head out the back door to the wooden water tank at the rear of the house. It’s hot and I’m thirsty. The tank sits in the shade surrounded by Ti leaves and banana trees, its sides covered in thick green-black moss and a thin layer of moisture. The rainwater that fills the tank is sweet. I slurp it straight from the spout, letting the run-off splash on my muddy toes.”

Lastly, congratulations to Melissa Chadburn and Xochitl-Julisa Bermejo who share the honor of being awarded grants for nonfiction from Money for Women/Barbara Deming Memorial Fund.

On Melissa’s project:

“This essay collection includes the title essay, a previously published piece about my experience in foster care. The other essays capture the myriad of effects of poverty—or the converse: the effects of affluence and power. I think this is the one element that binds all of my work together—I talk about class and race but what I really am speaking of are the effects of power on the human condition.”

Pssst! Fiction writers, The Barbara Deming Fund is now taking applications for fiction projects. It awards “small artist support grants ($500-$1500) to individual feminist women in the arts.” Submissions close December 31st.

Interview with Ashaki M. Jackson

Ashaki M. Jackson is a poet and social psychologist residing in Los Angeles. Her poem “An American Paratrooper” appears in [r.kv.r.y. quarterly‘s] April 2014 issue. Noted authors and Ashaki confidants Khadijah Queen (www.khadijahqueen.com) and Kima Jones (www.thenotoriouskima.com) recently pitched a few questions to her about her work – an ongoing reflection on grief, coping, and defunct mortuary rites grounded in her grandmother’s death.

This interview is reposted with permission from the editors of r.kv.r.y. quarterly where it was first published

Khadijah Queen (KQ) begins a little late but gracefully: Snap! I got distracted by YouTube and middle school homework and cake and hot dogs… ​What distracts you most from your creative work, and how do you overcome said distraction(s) and/or use them to your advantage?

Ashaki Jackson (AJ): This day-to-day thing. I’m responding from bed while deep-conditioning my hair and jotting a To Do list for the next four hours.

Chicken is marinating. Dishes still aren’t going to wash themselves. This basket of clean laundry is giving me the side-eye. It is 5:30 PM.

Being swallowed by the mundane is very comforting to me. My writing revolves around personal loss — mainly that of my grandmother. I still reside in her memory and fold into my grief when I evoke her in poems. The feelings are oppressive even when I write about my broader reflection on loss as I did with An American Paratrooper. Inundating myself with a Big Bang Theory-spring cleaning-pedicure session or reading books in a loud restaurant gives me respite. It gives me spaces to tuck my grief until I’m ready to see it again.

KQ: Talk about the bodied-ness of your poems. How central, tangential, and/or inextricable are the physical and the linguistic?

AJ: I have bodies. Many bodies. Other peoples’ bodies. Loved ones’ bodies.

Sometimes it is the thought of the last state in which I saw a late loved one that pops into my mind.

This is a painful but helpful entry into my drafts. I also spent quite a bit of time studying anthropologists’ articles about mortuary rites. Cecilia McCallum, Ph.D., is a lasting favorite. She documents the care with which certain South American tribe members once treated their deceased family members’ bodies before consuming them.

I learned that mourning isn’t merely psychological; it is a ceremony, a meal, something that lingers on the palate. The language of consumption in relation to the lingering sense of loss underpins many of my pieces—devouring, preservation, and that sense of never being sate. Some of my poems read as if words are falling out of the mouth haphazardly. Others read as if I’m choking on the grief. I’m not able to articulate the craft, but thematically I might refer to it as written keening.

Kima Jones (KJ): Essentially, form is choosing skin, so I want to revisit Khadijah’s question on bodied-ness: Which form, which body do you like to take on most? And for your grandmother?

AJ: My good friend, Noah, mentioned that some of us “like to wear each other’s bodies.” We were speaking about recent travesties — Malaysian Flight 370, MV Sewol in South Korea, the Chibok girls. For all of those bodies lost, families only received apologies from officials — the emptiest gesture. Like gristle.

I think you crave a body — living or dead — particularly when you do not have one.

Bodies are tangible and to be cared for. That care is some kind of ritual.

My work doesn’t have a particular body. Forms are rare in my work. However, I allow my lines to occupy the page in non-traditional ways. One poem is written in the choppiness of a choking cry. In a different piece, the words collide at the bottom of the page – a visual homage to hopelessness in grief. The reader should want to gather words from these pieces, scrape them from the ground, and comfort them.

I spend a good amount of time thinking on my late grandmother’s passing. It aides my coping to wade through the memories, but it also gives me access to a dialect of grief that others might make use of in the future. In my manuscript, I write about her transition in various forms with the same sentiment about the body. She should be home, with us, and cared for. I don’t know if it’s the best I can do to evoke her in my pages as if my manuscript is her portable body. It is a start for me.

KJ: There is always something hiding, even in the uncovering and undoing. I am wondering how Ashaki keeps the secret things hidden during the excavation, the mining of all those graves?

AJ: I’m of the mind that the reader does not need to know me to enter, understand, experience, or relate to the work. Few books would ever be read with this requirement. What I need from the reader: trust. I might not hand you my articulated grief or reveal everything I’ve had to unearth to write a piece, but I’ll share work that will resonate in some way with the reader–that will rub the reader’s bruises just as my ache is continually touched.

KJ: It’s a question I’m turning over more and more in my head in regard to my own heart and my own good feeling, so I ask you, what is the use of the love poem?

AJ: Use of the love poem: praise for a body; idolatry; celebration of the mind’s fire; a method of serenading; to fully taste; to build a word altar to a moment; to sustain a beautiful feeling; to tuck a piece of candy in my pillowcase for later; to be reckless in my selfishness by flaunting; to maintain my warmth; to serve me.

I think that’s broad enough to comfortably fit my poems on grief and loss and loose enough to include the poems I have yet to write for the loves I have yet to know.

The-Body-of-a-Soldier

KQ: Truth & honesty– where on the spectrum when dealing with loss/grief do these consciously figure? Are they seeds or threads? Both? How much gives way to metaphor or story or construct?

​AJ: I think Kima’s question about the use of a love poem is relevant here. If I were to write a love poem — let’s say “romantic” in some way — my approach could be seen as dishonest because I haven’t known love. I’d tell you that in the poem. I’m pretty forthcoming with what I don’t know. But, it would still be a decent poem because lies are often the most interesting genre.

When dealing with loss, I am more honest about what I have experienced than what I have not. I think my feelings are evident and even resounding when I write about personal loss because I know its labyrinth. I become the omniscient tour guide. When writing others’ losses: my empathy might seem insufficient. My feelings about documenting grief are still true and perhaps a projection of my mourning. But, I don’t know others’ specific pains, which are rooted in long relationships, family, home, and hopes for the future.

The lyric fills in those hollows. The poem becomes indigenous to its characters — not me. I am honest until my imagination converts a paratrooper’s body being retrieved from Cambodia into a native stork.


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Dr. Ashaki M. Jackson is a social psychologist and poet who has worked with post-incarceration youth through research, evaluation and creative arts mentoring for over one decade. She is a Cave Canem and VONA alumna. Her work has appeared or is forthcoming in Prairie Schooner, Rkvry Quarterly and CURA Magazine, among others. Miel Books will publish her chapbook, Language Lesson, in fall 2016. She lives and works in Los Angeles, California.

Women Who Share: Désirée Zamorano on Daily Goals and the Power of Conferences

In 1997, more years ago than I care to admit to, I attended a Bouchercon mystery conference and listened to the writer Patricia Sprinkle speak about the “seasons” in a writer’s life. At that time I had two small children, taught 5th grade, and had committed myself to carve time out of my day to write. But, I had given myself a daily quota that I was daily unable to make. I goaded, scolded and loathed myself for not accomplishing my daily goal, day after day after day. When Ms. Sprinkle spoke, she reminded her audience of the different seasons in our lives, to recognize and honor them. I took her words in, deeply. I vowed not to beat myself up for missing arbitrary targets.

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