Archive for October, 2013

I also write aided by many cups of tea.

Intermittent Visitors: Kasey Jueds interviewed by Joanne Merriam.

29 October 2013

Open call for reprint submissions of immigrant SF

Announcing an open call for reprint submissions for our upcoming anthology of fiction and poetry, How to Live on Other Planets: A Handbook for Aspiring Aliens, to be published in 2015 by Upper Rubber Boot Books.

Editor Joanne Merriam is interested in narratives that explore the immigrant experience in a science fiction setting: what it means to acculturate, enculturate, assimilate or otherwise deal with living in a new place with strange inhabitants, customs, languages and/or landscapes.

She is also interested in narratives which widen our perspectives of science fiction itself, so please note that speculative fiction, slipstream, magical realism, infernokrusher, literary fiction employing SF tropes, etc., are all welcome. Writers need not themselves be immigrants to submit.

  • Word/page count: Up to 6,000 words/story or up to 100 lines/poem.
  • Payment: Pro-rated share of 30% royalty for ebook sales and 10% royalty of print book sales; pro-rata share to be based upon page count in the print edition.
  • Publication history: Must be previously published, unless it’s a translation, in which case the original must have been published in its original language. Non-exclusive reprint rights must be available (but it’s fine if the work is still available to readers online). Unpublished works may be submitted by invitation only.
  • Multiple submissions: Up to 3 stories or 5 poems.
  • Simultaneous submissions: Since we will be asking for non-exclusive rights, this is fine as long as the other market is also non-exclusive; please note that this means we will expect you not to withdraw a submission because it has been accepted elsewhere.
  • Deadline: 31 January 2014.
  • To submit: Send to joanne at upperrubberboot dot com:
    (a) your complete manuscript as a .RTF,
    (b) a bio of 100 words or fewer, and
    (c) a listing of previous publication credit(s) for the work.
    Put “IMMIGRANT SF” in the subject line.
    If the work is a translation, please also provide a statement from the rights holder that you are authorized to translate it.

1 comment 27 October 2013


I’m struck by the distinct differences in each collection, and yet how the volume somehow holds together as a piece in itself. . . . It offers all of the advantages of the chapbook with the added spark of three voices placed side by side, so that the poems of one poet linger and influence the reading of the next. —Sandy Longhorn


Chapbooks—short books under 40 pages—arose when printed books became affordable in the 16th century. In the tradition of 18th and 19th century British and American literary annuals and the Penguin Modern Poets Series of the ’60s and ’70s, Floodgate Poetry Series: Three Chapbooks in a Single Volume houses emerging and established poets in innovative and attractive editions.

Floodgate is edited by Andrew McFadyen-Ketchum and is published annually in autumn. Submissions to Floodgate are currently by invitation only.


Books in the series

Released 15 November 2016, Floodgate Poetry Series Vol. 3 comprises: brothers Anders and Kai Carlson-Wee‘s Northern Corn, a train trip across an America of dust and dignity; Begotten, co-written by Cave Canem fellows F. Douglas Brown and Geffrey Davis, which explores fatherhood in the era of Black Lives Matter; and Enid Shomer‘s environmental tour-de-force Driving through the Animal.

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  • The argument Northern Corn makes in poem after beautiful poem—the eyes are connected to the mouth is connected to the heart—is one I am glad is in the world. —Ross Gay
  • “We like to say that we kind of beg, borrow and steal,” said Brown. “We beg one another to become better fathers, through the work and our conversations. We borrow from the things we are reading, and other people who are working with the same themes. And we steal from one another.” —Elizabeth Flock, “Two fathers use poems to teach their kids about growing up black in America,” PBS Newshour Poetry, February 13, 2017
  • Delight in Enid Shomer as the record keeper of varied and shifting coastlines—those of vital literal and figurative substance. —Katherine Soniat


Released on 17 November 2015, Floodgate Poetry Series Vol. 2 comprises: Kallie Falandays‘ violently playful Tiny Openings Everywhere; Aaron Jorgensen-Briggs‘ intimate and meditative Score for a Burning Bridge; and Hunger, Judy Jordan‘s chronicle of her time living in a Virginia greenhouse that continues (and nearly concludes) the story she started in her first two books, Carolina Ghost Woods and 60ยข Coffee and a Quarter to Dance.

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  • Welcome to the Kallieverse, which shares the everyday pleasures and perils of our world, but seems to obey slightly different laws of physics and tilts its language in new intriguing ways. —Albert Goldbarth
  • There is a stillness and attentiveness in Aaron Jorgensen-Briggs’s Score for a Burning Bridge, an abiding quiet, as if the poems are trying not to scare something wild nearby. —Maggie Smith
  • This is a great American poem. Jordan tells the truth of a life as split open by the world—by life on this earth with other kinds of beings, human and other, with dreams and ghosts, machinery, between the visible and invisible. The language is thick, allusive, rich, dense. She turns scalding materials into gorgeous art. —Adrienne Rich


Released on 17 November 2014, Floodgate Poetry Series Vol. 1 comprises: Jenna Bazzell‘s profoundly centered Homeland; Martin Anthony Call‘s The Fermi Sea, lost love in a near future of nanobots, holograms, and urban decay; and Picasso/Mao, Campbell McGrath‘s persona poems in the voice of the two historical figures.

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  • It has been said that literature should either make the familiar strange or the strange familiar; Homeland does both with alacrity. —Okla Elliott
  • Haunting and urgent, Call has found a line and a music as arresting as it is gratifying. A remarkable collection! —James Kimbrell
  • Ample, dazzling, and elegantly crafted, these poems demonstrate a great mind enacting other great minds. Oscar Wilde once wrote, “A mask tells us more than a face.” These McGrath poems tell us much more than biography—they demonstrate cultural shifts and perception, a sophisticated and compassionate worldview, the poet’s intellect shining through. —Denise Duhamel

21 October 2013


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