This contest awards $1,500 in prizes to a piece of lasting nonfiction that is outside the realm of conventional journalism and has relevance to North Carolinians. Subjects may include traditional categories such as reviews, travel articles, profiles or interviews, place/history pieces, or culture criticism.
The first-, second-, and third-place winners will receive $1,000, $300, and $200 respectively. The winning entry will be considered for publication by Ecotone.
Final judge Benjamin Rachlin grew up in New Hampshire. He studied English at Bowdoin College, where he won the Sinkinson Prize, and writing at the University of North Carolina Wilmington, where he won Schwartz and Brauer fellowships. His work has appeared, or is forthcoming, in the New York Times Magazine, Rolling Stone, Virginia Quarterly Review, TIME, Pacific Standard, Orion, LitHub, and Five Dials. His first book, Ghost of the Innocent Man: A True Story of Trial and Redemption, is available now from Little, Brown & Company.
The 2018 Rose Post Creative Nonfiction Competition is administered by the University of North Carolina at Wilmington Department of Creative Writing, a community of passionate, dedicated writers who believe that the creation of art is a pursuit valuable to self and culture. The contest is open to any writer who is a legal resident of North Carolina or a member of the North Carolina Writers’ Network. The deadline for submissions is January 15, 2018 (postmark).
Rose Post worked for the Salisbury Post for fifty-six years as a reporter, feature writer, and columnist. She won numerous state and national awards for her writing and earned the N.C. Press Women’s top annual award four times. She received the O. Henry Award from the Associated Press three times, the Pete Ivey Award, and the School Bell Award for educational coverage. Nationally, she won the 1989 Ernie Pyle Award, the Scripps Howard Foundation National Journalism Award for human-interest writing, and the 1994 National Society of Newspaper Columnists’ Award.
Here are the complete guidelines:
The nonprofit North Carolina Writers’ Network is the state’s oldest and largest literary arts services organization devoted to writers at all stages of development. For additional information, visit www.ncwriters.org.
We’re thrilled for Matthew Lansburgh, whose story collection, Outside is the Ocean, winner of the Iowa Short Fiction Award, publishes this week. The title story appears in the current issue of Ecotone.
We love the review from Kirkus, which describes so much of what we love about Matthew’s work: “Not for the faint of heart, this collection is relentless and intense, but Lansburgh’s prose offers stunning moments of tenderness amid its stark depictions of loneliness. Arresting and pointed.”
We hope you’ll check it out!
To help celebrate Chinese New Year, this reminder of one memorable rooster from Ecotone 18.
Ecotone 23: The Craft Issue
For Ecotone’s fall 2017 issue, the editors invite writing on craft. We seek work that explores craftsmanship of all kinds, that exhibits its own craftiness, makes us think about the act of making in new ways. Some possible considerations:
Craft shaped by place; place shaped by craft—how our inner and outer environments influence how, what, and why we create.
Guilds and apprenticeships. Sewing circles and solitary work. So-called high craft and so-called low. Craft as and in companionship. Craft as community.
State fairs. The fiction, history, poetics of witchcraft. Craft and technology. Making and destruction. Form and function, beauty and ugliness. Spacecraft, aircraft, watercraft.
Gender and craft. Race and craft. Queerness and craft. Craft traditions under threat (by lack of attention or too much of it), and traditions in the process of being revived.
Craft as resistance. Craft as activism.
Metalsmithing, embroidery, signpainting; cocktails, baking, fermentation; amphibrachs, bops, Oulipian constraints.
Rhetorical strategy. Ars poetica. The craft of writing. Of editing.
Craft as a means of resilience, of cultural and bodily survival.
Cleverness, craftiness, smarts. The narrative possibilities thereof. The clues for keeping on therein.
We need your craft now, writers. Please send work that is traditional or experimental, but above all, excellently made. To ensure that we are able to consider your submission, please review our complete guidelines before sending it. We may read with unthemed issues in mind as well; still, if you are thinking craftwise, be sure to mention the theme in your cover letter.
Zeina Hashem Beck’s poems, “The Woman in Our House,” “Asmahan,” and “Listen” appear in Ecotone 21. In the piece below, Zeina tells us about the process of writing 3arabi Song, using a glossary of some of the Arabic words in the chapbook.
Writing 3arabi Song: A Glossary of Arabic Terms
Tarab: a kind of Arabic music. The word is also used to describe the emotional effect of this music on the listener, who is almost in a state of trance.
Tarab: When Mom began an Umm Kulthum song in the kitchen, Dad replied from the corridor. When my parents’ friends came over, everyone sang. The only video footage my parents have of me as a toddler is me singing in the middle of a living room, surrounded by clapping adults. This was Lebanon in the ’80s, during the civil war. Every day at lunch or dinner, Dad made the same joke about a line from a famous Abdel Halim song – a line about how time was coming to heal us.
Ya’aburnee: literally means “you bury me.” A term of endearment, often used by Arab mothers, expressing their desire to die before their children, rather than live without them. Can’t be translated in one word.
Ya’aburnee: Three summers ago, my cousin was shot dead on the street in Tripoli, Lebanon. My aunt sat in her living room, crying and singing about her asmar, her dark-skinned boy. That same summer, two Tripoli mosques were bombed. I don’t know how many people have buried loved ones in Syria, in Iraq, in Palestine. How to write the untranslatable?
3arabi: the Arabizi way of writing “Arabic.” Arabizi” comes from the combination of “Arabic” and “Englizi” (English); it uses numbers to represent sounds that are specifically Arabic, and has become well-known among Arabic speakers (especially online and in texting).
3arabi: One of the books we had in our house in Tripoli was a big, blue, French-Arabic/Arabic-French dictionary. It’s one of the earliest books I remember going through; I liked its thick cover, its smell, its thin pages, its weight. Looking back now, I find it interesting that, like me, it was bilingual. Like many Lebanese, I attended a French school then an American University. I feel I live in many languages, and so does 3arabi Song. But living in many languages means using the language of the colonizer, the Empire – do I forgive myself? And how do I break English to create a space for my 3arabi self inside it?
Ra7eel: departure | 3awda: returning
Ra7eel | 3awda: In one of the first stories I wrote as a little girl, I gave my character a very Western name: Grace. I remember struggling to come up with it because, in my little girl’s mind, I probably thought, Who names their characters Zeina or Ahmad? Who sets a story in Tripoli? One thing 3arabi Song says is, Oh for God’s sake, who the hell is Grace?
Bahr: the sea. Also means “meter” in Arabic poetry.
Bahr: The sea isn’t always merciful. Refugees keep drowning in the Mediterranean. And poetry seems simultaneously useles and powerful. But language is what I do, so I do it.
Habibi: my love.
Habibi: I lose count of how many times a day I use the word habibi. I lose count of Allah too.
Allahu Akbar: God is greater.
Allahu Akbar: These words didn’t use to invoke fear, or beheadings. When I visited the US for the first time last year, I wanted to read the poem “Adhan,” which contains the words Allahu Akbar. My husband worried some people in the audience might not get it, might be scared. He also worried some people in the Arab world might be offended. This is what happens when you live in the liminal. I read the poem.
Zeina Hashem Beck is a Lebanese poet. Her first collection, To Live in Autumn, won the 2013 Backwaters Prize. Her second collection, Louder than Hearts, has won the 2016 May Sarton New Hampshire Poetry Prize and is forthcoming in April 2017. She’s also the author of two chapbooks: 3arabi Song, winner of the 2016 Rattle Chapbook Prize, and There Was and How Much There Was, a 2016 smith|doorstop Laureate’s Choice, selected by Carol Ann Duffy. Her work has been nominated for the Pushcart Prize, Best of the Net, and the Forward Prize, and has appeared in Ploughshares, Poetry Northwest, and The Rialto, among others. She lives in Dubai, where she has founded and runs PUNCH, a poetry and open mic collective. Zeina’s readings often have a strong performative quality, and she has participated in literary festivals in the Middle East, the United Kingdom, and the United States.
Ecotone’s tagline is “reimagining place,” and we love work that brings us to a specific location, real or imagined. In this department, Save Your Place, we highlight our favorite descriptions of place from work we’ve published at Ecotone and Lookout.
This place is from the poem “Muybridge’s Clouds” by Joshua Rivkin in Ecotone 17.
“His lens opens and the sky burns away. No limit, no shade. Just the color of the crater left by footprints in mountain snow or the bright blindness of a just-fired gun, the sky in early photographs appears white. In his darkroom, a library of negatives, he matches the right shape for the right sky.”