We are so excited to announce our 2019 Pushcart Prize Nominations for The Florida Review and Aquifer! Congratulations to the nominees!
Pushcart Prize Nominations for TFR
Amanda Hawkins, “/in the year of salt and death/” (43.1)
Nahal Suzanne Jamir, “That He Had a Father” (43.1)
Jayson Iwen, “Body: Luke & Acts” (43.2)
Hadara Bar-Nadav, “[Your mind is night]” (43.2)
Kass Fleisher, “When They’re Two” (43.2)
Jessica Treadway’s “Infinite Dimensions” (43.2)
We’ve now launched this fall’s special feature, highlighting innovative hybrid and erasure work across Aquifer: The Florida Review Online and our upcoming print issue 43.2. Twice weekly through December 26, 2019, we will be publishing a different piece of erasure work on Aquifer, with each taking advantage of the web-native format that enables us to publish genre-bending work we simply couldn’t present accurately in print. Our print issue, no less innovative (though maybe less colorful), will feature even more erasure work that challenges the norm and speaks to the topical origins and traditions of this resilient form. Be sure to subscribe to our print magazine as soon as possible if you haven’t already, and check back here as pieces are published on Aquifer every Monday and Thursday through the end of December.
Over the past fifty years, erasure has come to be known as a (mainly) poetic technique that both connects the writer/reader with an original text and also questions and transforms it, sometimes evokes a completely contrary meaning. As a form, it draws attention to writing as a “physical” object (or, more recently, as a digital object) and makes us aware of how all writings’ meanings can shift and change with varied attention and assumptions. It connects us to our literary and extra-literary writing and visual arts traditions while creating a contemporary engagement with subjects and words from works both ancient and recent. We are pleased to present in Aquifer and the print Florida Review a wide range of erasure techniques from blacking out, crossing out, blanking out, painting out, burning out, and creating collages from original material both written and visual.
Aquifer Erasure Publication Schedule:
(Links inactive until posted publication date at 8:00AM, EST)
Forthcoming Erasures in 43.2 of The Florida Review:
Sea Poems by C. R. Resetarits
“[your mind is night],” “[The animal is chemical carnivorous sick],” “Read this each time you],” and “[Life eats breath]” by Hardara Bar-Nadev
“Seance” by Jay Barnica
2 poems from Each Leaf by Anna Lena Phillips Bell
“In the house of” by John Bonanni
“Jefferson’s Secret Message to Congress (Redacted)” by Alan Elyshevitz
“Self-Erasure for My Mother” by Amanda Hadlock
“Notes on Pet Monkeys and How to Manage Them” by Bethany Shultz Hurst
“Body: Luke & Acts” by Jayson Iwen
“Come Gentle” and “Come Hollow” by Carolyn Janecek
“Apollo & Daphne” by Eva Della Lana
“Boys, Boss” by Kristine Langley Mahler
“After a Death” and “Allegro” by Kelly Nelson
“Hell’s Our Destination” by David Rachels
“My Girlfriend Asks if I Think I’ll Ever Stop Writing about My Ex” and “Ars Poetica in War Time Which for Us Means Always” by Dujie Tahat
The Florida Review would like to announce the winner of the 2018-2019 Jeanne Leiby Memorial Chapbook Award: Lynne Nugent, for her collection of creative nonfiction shorts, Nest. Nugent’s collection will be released at AWP in 2020. Final judge Phong Nguyen had this to say about our winner:
Nest achieves what many essay collections seek to accomplish: it causes the reader to see the world with new eyes. By drawing upon the raw material of motherhood, the author uses this eternal verity and imbues it with her highly idiosyncratic reality, without ever forcing revelations onto this universal subject. The insights that emerge from her telling feel at once natural, inevitable, and sui generis.
Lynne Nugent is the managing editor of The Iowa Review. Her personal essays have been published in the North American Review, Brevity, the New York Times, Full Grown People, Mutha Magazine, and Hippocampus Magazine.
She noted about Nest:
I wrote most of the essays in Nest on my phone while breastfeeding or holding a sleeping baby, intoxicated by love and pheromones but also exhausted and bored, and swinging between those two emotional extremes and needing an outlet. Given the constraints of this kind of writing process, most of them are flash essays, and the overall length of the manuscript is pretty lightweight. Rather than push myself to fit some idea of how long an essay or a book can be, I took inspiration from Sarah Ruhl’s 100 Essays I Don’t Have Time to Write, in which she embraces the fragmentary and incomplete thoughts that can result from motherhood and, well, just life… One thing I didn’t anticipate was the positive reaction to writing a chapbook, not in spite of but because of its brevity: a friend who was also a new mom said, “Thank you for writing something I will actually have time to read.” So the benefits can be to both reader and writer. I see Nest as a product of a moment—technology, feminism, creativity, and ambition, all intersecting with the eternal needs and rhythms of life, especially for those of us involved in taking care of other humans.
We would also like to announce our semi-finalists: My Tran for her three flash fiction pieces, “eleven,” “thirteen,” and “seventeen,” from “My father is housed in a whale,” and Angelo R. Lacuesta and Roy Allen Martinez for their graphic narrative, “Bedweather.” A second short piece by Angelo R. Lacuesta and artist Shaira Luna, “Triple Phantasy,” will appear in Aquifer: The Florida Review Online.
Once again, we would like to say thank you to all the amazing writers who submitted their work for the past year. We are looking forward to reading and seeing all the work that writers are submitting for this year’s chapbook award in the genres of fiction, poetry, nonfiction, and graphic narrative. We hope you make it just as hard for us to choose this year as you did last year. The 2019-2020 contest is now open.
The Florida Review is thrilled to share that MR Sheffield, one of our authors, has just published her first poetry collection: Marvels. Sheffield’s fiction piece “The Geometry of Children” was a Jeanne Leiby Chapbook Contest finalist and featured in our print issue 37.1 from summer 2012. When asked about being published in The Florida Review, Sheffield said:
I was thrilled to be a part of such an esteemed publication. As a chapbook finalist, part of my prize was getting to attend the [Sanibel] writers’ conference. It was just a fabulous experience—it was the first time I felt like a writer. While I’ll probably never be completely rid of self-doubt, publishing my story helped me see that I might actually have something to say.
Since she had been published in The Florida Review, Sheffield noted a sense of legitimacy that was gained for her as a writer and outlined what she sees as the role of small literary magazines:
They are the rich earth wherein stories, poems, and essays can take root. They give emerging authors a place to grow from. Small literary magazines also shape contemporary literature. We can see where trends are going through what pops up in these publications.
As far as whether her life has changed as a writer now with the release of Marvels, Sheffield said:
Again, I’ve had this fleeting sense of legitimacy. I actually do love this little book. It’s weird and complicated and in some ways it’s indistinguishable from me. I love that it will exist outside of me. My dad passed away last year, and this book feels like another scattering of his ashes.
Marvels can be pre-ordered from Sundress Publications here.