The editors are excited to announce the launch of Indiana Review’s promo trailer for Issue 35.2! If you can’t be at AWP this week—where we’ll be debuting this fancy video—that’s okay. We’re making it available to all our followers and subscribers here on our blog. With work by Dorianne Laux, Daniel Hornsby, Jonathan Rovner, Stacey Waite, and many other talented writers, we encourage you to check out our newest issue here. If you like what you see, you can purchase your very own copy here. Thanks for watching!
Posts By: Britt Ashley
The editors of Indiana Review are thrilled to be joining the dynamic community of readers, writers, editors, and publishers at AWP in Seattle this year! Stop by to visit us at table S5 in the Bookfair. We’ll have great swag, be happy to see you, and along with a selection of old issues we’ll have copies of our new issue for sale, featuring work by Annie Hartnett, Ryan Werner, G.C. Waldrep, Jamaal May, and other great writers. We hope to see you—contributors, writers, readers—there!
Close out your February with us at our RUN-AWP event, a basketball game and reading we’ll be co-hosting with O, Miami on Friday the 28th from 4:00 until 6:00. Interested in learning more? Of course you are. Check out more event details here.
As a writer and especially as a student in an M.F.A. program I am often asked what it is that I write. My answer will vary somewhat depending on the person asking and the context of our conversation but I always find that at the center of that perfectly reasonable question lies a demand to identify oneself through genre. So the question becomes not just, what are you working on, but rather what are you?
As an undergraduate, I studied poetry and wrote a lot of short, spare, tightly enjambed poems. These pieces were mostly bad but I was certain that they were poems and therefore I was a poet.
After I left school and found an amazing writing community in Seattle through Bent Queer Writing Institute, I started to write stories and essays. Complete, unenjambed sentences! Those sentences were crammed full of sound and image but since they happily went all the way across the page I was certain that what I was writing was prose and that as a prose writer I should now set to work on writing my novel.
I would not have owned it at the time but I had a pretty rigid view of genre. I understood that my fiction could be memoir-based or my prose sentences could be rooted in poetic elements of sound and syntax. But I felt ultimately that it was my job as a writer (and especially as a writer who wanted to be good) to commit to a specific genre and in doing so eliminate any problematic markers of other genres from the piece at hand.
Lucky for me I ended up with a lot of smart friends and teachers who introduced me to work that did not easily fit into a single genre category. I read Lydia Davis, Haryette Mullen, Maggie Nelson, Micah Ling, Michael Martone, Eve Alexandra, and Julio Cortezar. This work was funny, smart, beautiful, and strange. It shook my own creative sensibility, my idea of the good, genre-abiding writer.
What I loved and continue to love about work that pushes the boundaries of genre, work that resides in in-between spaces, is the unruliness of it. I believe that rowdiness comes not from disregarding form or genre but from inhabiting the space lineated by expectations so fully that the writer is able to push the form until it bends, blurs, or breaks. It’s the same thing I love about a well-crafted sonnet and a mind-blowing drag performance.
When a piece of classical music like something by Bach is played on period instruments, the notes make use of the instrument to its full capability. And so every time the piece is played there is the risk of rupture. As a writer this is what I want to make and as an editor this is what I want to publish.
Speaking of publishing, we just opened submissions for our annual ½ K Prize and there’s been a bit of confusion about what genres we’re looking for in this contest. And that’s because we’re not looking for a specific genre at all. I love this contest precisely because it offers a home for pieces that are not easily categorized. This is an opportunity for us to examine and showcase work outside the traditional boundaries of genre.
There are a couple of great examples from last year’s contest up on our website now. J. Bowers’ “Two on a Horse” could be called a series of historical fiction short-shorts. Megan Moriarty’s “The Clowns Are Leaving Soon” skews more toward the genre of the prose poem. But neither of my short descriptions here accurately encompasses the wild strangeness that Bowers and Moriarty welcome in these pieces. So, in terms of genre we at the Indiana Review are inviting you to play whatever instrument you choose and if you play it till it breaks, all the better.
Dying to share your own thoughts on genre? Have deep feelings about possessive apostrophe preferences? Come at me in the comments.
It’s summer in Bloomington, the undergraduates have fled, and Editor Katie Moulton and I are doing our best to keep things lively in the office while the rest of the staff is on break.
A couple of notes from our to-do list that we want to pass on to you:
Regular submissions are currently closed. We will open the gates again on August 1.
Any electronic or hard-copy submissions received between now and July 31 will be returned unread.
I know, it is sad.
But wait! No need to despair!
We will be accepting submissions for the annual Indiana Review ½ K Prize, judged by Dinty Moore, between June 1 and August 1, 2013.
Yep. We’re excited too! Send us your very best 500-word previously unpublished pieces. Prose? Poetry? Prosetry? There are no rules, man! Well, except for these:
You may submit 3 pieces per entry and you may also submit multiple entries. At $20 per entry, that’s a pretty sweet deal. If you are submitting online, make sure to pay the entry fee after you have submitted your pieces. Note: You can pay now, but you won’t be able to submit until June 1.
When submitting online make sure to designate your entry as a submission to the 1/2 K Prize. If you are paying the old-fashioned way please make checks out to Indiana University.
Full submission guidelines can be found here.
Stay tuned to the blog for more updates and summer shenanigans!
Where are you from?
Favorite issue of IR?
Oh no, do I really have to pick just one? Well, I guess if I have to choose, I’ll say 33.2, because a) it is filled with amazing poems and stories, and b) it is the first issue I’ve seen in each stage of production, from start to finish.
Favorite non-IR journals?