Tomorrow is Literary Career Day at the Seattle Public Library downtown. It's described as "a free event providing young people ages 16-24 with direct access to industry professionals through networking, experiential learning, engaging conversations, and performances." If you know any aspiring authors, tell them to register today.
If you're a woman over the age of 50 and you write poetry, you should be applying for Two Sylvias Press's Wilder Series Poetry Book Prize, which "is open to women over 50 years of age (established or emerging poets) and includes a $1000 prize, publication by Two Sylvias Press, 20 copies of the winning book, and a vintage, art nouveau pendant." You have until November 30th to apply, but never wait until the last minute.
Here are the submission guidelines for you to be a part of the Shout Your Abortion anthology. Get your written and illustrated submissions in before November 15th!
Submissions in which writers address their own abortion experiences will be most highly prioritized, but any work related to the theme of abortion will be considered. Submissions can be published anonymously, though writers chosen for the book will be required to sign a release form. Most selections will be between 500-1700 words, but other lengths will be considered. We are seeking as broad a representation of racial, age, gender, and geographical diversity as possible. Stories not selected for the book will also be considered for publishing on SYA’s website.
The University of Aberdeen has put a beautiful reproduction of a very old manuscript called The Aberdeen Bestiary online for anyone to view for free. It opens with the creation of the heavens and the earth, so it's, you know, pretty epic.
Cartoonist Tom Gauld's vision of an e-bookmark is depressingly true to life.
Weird, isn't it, that the publisher chose a photo of Sylvia Plath in a swimsuit for the cover of her collected letters? Nichole LeFebvre writes for Literary Hub:
I do think calling “male gaze” on the cover of Letters implies a certain level of pity: poor Sylvia, even in death, being paraded around for men. Yet we should not overlook the hyper-aware carnality of her work, her insistent control. Even in a poem like “Lady Lazarus”—in which Plath calls death “the big striptease” and brags about the “very large charge” for a glimpse at her scars—the tone is chirpy and flirtatious, with those trademark round vowels and confident, declarative lines. It’s this allure—delicious poison—that makes her poetry so powerful, so lasting. She is in control. She flirts you close enough to burn you.
If male writers were marketed in the same way as female writers. Via Christopher Hamilton-Emery. pic.twitter.com/1IwN8MfckZ— Jane Harris (@blablafishcakes) October 4, 2017