Category: Publishing

Findings, file under Publishing:

We’re reading submissions for 111O/6 now. Our open reading period for manuscripts will begin on June 1. This year, there will be a €10 reading fee; we need to cover the Submittable bill as well as the printing of next year’s chapbooks. But we want it to be fair to you, too, so once submissions are live, you’ll be able to choose a chapbook from our current inventory and we’ll mail it to you.

We’ve already gotten a ton of submissions for 111O/6, many of which are really great. As picky as we have to be for each issue (because of the limitations we places on content) we have to be even  more so for this issue—have to think about what will fit on broadsides and what will work best in terms of printing/layout. So we apologize if we’re especially speedy with the rejections—and we promise that if we ask you to send work again sometime we really mean it.

#canal #bridge #historic #center #ghent #gent #belgium #belgië #belgique #igbelgium #architecture #iphonesia #iphone4s #iphoneography #instagram #instamood #instagood #statigram #snapseed #sierra #view #coffee #house #barrazza

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Thank you, thank you

MIEL retreat November 2013

Thanks from the bottom of our hearts to those of you who supported our drive to fund writers’ residencies in Belgium. While the campaign wasn’t fully funded (& so we won’t be able to offer the scholarships we wanted to) the retreat is ON and we’re still going to try to work out ways of funding those who might not be able to afford it alone. If you have ideas, want to come on retreat with us, or would like financial help doing that, pls don’t hesitate to be in touch (miel.books@gmail.com).

 

Thank you again, so much, for demonstrating your support for this project.

Findings, file under Publishing:

Barrelhouse is open for submissions.

Storm Cellar is reading for their ‘Superheros’ issue, as well as being open for regular submissions.

Black Warrior Review‘s contest is open.

Rattle‘s call for submissions.

We have THREE days to raise the money to bring eight writers to Belgium. Every little bit helps—can you support this campaign?

For: "Capture daily life on May 15th 2012" project 366/136
“Capture daily life on May 15th 2012; project 366/136″ by ConnectIrmeli, on Flickr

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Findings, file under Print:

Everything is Hearsay: an Elegy“, by Carrie Murphy. “I talk about my father frequently.  I say, “He said,” I say, “He was,” I say, “He thought.” But in reality, I don’t know what he thought. I can’t remember, not exactly, not word-for-word, anything he did say. The only way I can talk about him is equivalent to speculation, to hearsay. I compile, I assemble, I repeat a list-like reckoning of the things that made him a man and made his life a life.”

Words Without Borders: an issue with work by defectors from North Korea.

I’ve been rereading this essay by Eileen Myles for a couple of weeks now. It is an almost perfect essay—I’m only rankled by her refusal to use the formal conceit of the last name for Marjorie Perloff (it’s used elsewhere for others, and I think it weakens her argument tonally—seems petty).

We have FIVE DAYS to get those eight writers to Belgium. Every little bit helps—can you support this campaign?

May 13, 2012 #11
“May 13, 2012 #11″ by russellmcneil, on Flickr

 

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behind the scenes: math

The upshot of all this information is a statement of ethics.

We would like to be able to pay writers. If all goes well (a big if in the tiny-press world) we will be able to, sometime in the next five years—if we make it that long. We do pay in copies, but acknowledge that a copy of your chapbook/a literary journal won’t buy groceries or pay the heat bill.

But as much as we would like to pay for the real work of writing (learning, reading, writing, revising, submitting, etc.), at the moment, we cannot afford to pay. Why? Math.

The chapbooks are generally a better balance. We pay chapbook authors in copies. Our first books paid for themselves (in part because we don’t pay ourselves for binding, editorial work, bookkeeping, admin, post-office runs). Our second set of books paid for themselves.

111O is another story. The two issues of 111O in 2012 did not pay for themselves (they are more expensive to print, and fewer people purchase them than purchase books). We had a grant from Arts Council England that helped make up the shortfall and cover some printing. Technically it should have paid us for our work as well, but in the end it made more sense just to use it all for production—a kind of bet on future books.

The grant money is gone now; we are floating, suspended by the small cushion of pre-orders. The last of the grant money (paid to our account for book design—paid out of our account for printing 111O/5) is gone. Printing 111O/5 cost about £400. That’s not too bad in terms of return (and this issue is selling much more briskly than normal—it looks like we will actually cover printing; that would be a first). But then here we are in Belgium, with the obscene costs of the Belgian postal service. Mailing our contributors’ copies ended up costing almost €400. Yes. €400. Poof. There are 45 contributors in 111O/5, plus me (one of my drawings is in the issue). That’s just under €10/person for shipping, plus let’s say the €2/copy. Note also that the shipping doesn’t include packing supplies, and it certainly doesn’t include payment for time (which is okay; it’s a fact of the matter that I accept. I do the work gladly. But it should be out there that it’s unwaged). That is the reason we don’t—can’t—pay right now. Maybe a thing to do would be to say contributors could have either a copy (and the implied shipping) or €10. I hope people would prefer the copy, especially as we move away from the book-only model. (In any case I think the way the business is set up making payments would be very difficult—we’d have to get an invoice from each contributor.)

All that said—this is only in the interest of transparency. We knew this press would likely never be a source of (real, dependable) income. We knew it would likely require (as it has) each of us to use our own money from time to time. In one way I think of that as a gift we can offer writers & artists who trust us with their work—our own smallish sacrifices and labor. I don’t feel bad about the fact that the press is money-poor, because it has definitely been beauty-rich. But I do want to put it out there that we also value the work of our contributors and want to be able to pay them—and that one day we will.

Upcoming issues of 111O: /6 will be a collection of broadsides packaged in an illustrated envelope. /7 will take an as-yet-undecided form, but will contain only writers whose names or pseudonyms begin with A. Submit here.

And we are still raising money—only a few days left—for our writers’ retreat scholarships campaign. Please consider helping or sharing if you can.

Statistically speaking—111O/5

111O-5

Number of Matthews in this issue: 2 (one Matt, one Matthew).
Number of contributors whose names rhyme with ‘Barrett’: 2
Percent of overlap between categories ‘Matthew’ and ‘rhymes with “Barrett”‘: 0

Countries represented by an artist or writer: Japan, Colombia, US, UK, Spain (twice), Cuba/US, Australia (twice), the Netherlands, Iran/US, Germany, Belgium.

Number of women in this issue: 34 (including one collaborative pair of artists)
Number of men in this issue: 13
Percent of editors who know that perceived gender alone is an insufficient mode of marking the diversity of content and contributors: 100
Percent of editors who nonetheless would like to demonstrate, per the VIDA count, for example, that we aim to support writing that might not get support elsewhere, despite its excellence: 100

Number of embarrassing omissions from the slipcover: 1. That’d be the name of Vanessa Ramos, one of our very favorite writers. We’re humbly and deeply sorry, Vanessa.

Availability of 111O/5:  √

 

111O/5

111O/5:

111O-5-header
A special issue, featuring 23 artists and 23 writers: each image, paired with its text, is printed on a smooth, 300-gsm postcard. (There’s space on the back for an address and a stamp—so yes, you can even send them.) We’re calling this issue 1111111111111111111111 11111111111111111111111. Or 111O/5, for short.

Writing by Nick Flynn, Juliana Spahr, Matt Bell, Roxane Gay, Jon McGregor, Arlene Kim, TJ Jarrett, Amber Sparks, Ali Gharavi, Vanessa Ramos, Steve Himmer, Rachel Moritz, Mensah Demary, Metta Sáma, Matthew Welton, Laressa Dickey, Shana Youngdahl, Carol Rowntree Jones, Hannah VanderHart, James Cihlar, Valerie Wetlaufer, Neele Dellschaft, and Polly Atkin.

Images by Gracia Haby & Louise Jennison, Ilse Weisfelt, Marion de Man, Ben Terrett, Shari Altman, Heather Smith Jones, Wil Freeborn, Helena de la Guardia, Ivan deBoom, Thomas Sayers Ellis, Mónica Naranjo Uribe, Elsa Mora, Yuko Matsui, Lisa Congdon, Brian Aldrich, Lisa Solomon, Cathy Cullis, Kathryn Clark, Marie-Klara González, Leo & Pipo, Éireann Lorsung, Amy Friend, and Camilla Engman.

* * *

Wil Freeborn posts about 111O/5.

Amy Karol posts about 111O/5.

Helena de la Guardia’s copy.

Marion de Man’s copy.

Nancy Campbell has something nice to say here.

111O/1

111O/1:

table of contents | 1110/1

ONE PHOTOGRAPH /
Andrew Schroeder, “MSP-Grain Towers”

ONE STORY /
Ali Gharavi, “Father, Son, Me”

TEN POEMS /
Laressa Dickey, “6″ from American Rough-Leg
William Reichard, “Oculus”
Z. Cody Lee, “I Know the Nightdress in the Field”
Rachel Moritz, “Birch (Betula)”
James Cihlar, “Lonely, Deeply”
Alyson Price Sinclair, “The last part, I don’t remember”
Hannah VanderHart, “Diana”
Shana Youngdahl, “School Girls”
Zachary Schomburg, “What I Did With The Rock”
Josh Wallaert, “While We’re Being Honest”

111O/2

111O/2:

111O/2

111O/2: Table of Contents

ONE PHOTOGRAPH /
Shari Altman, “Cottage Window”

ONE STORY /
Dominique Hecq, “Oranges and Lemons”

TEN POEMS /
George Szirtes, “Colours”
Stephanie N. Johnson, “Repair for the Occult Mind”
R L Swihart, “Full of Time and Still Hungry”
Dan Lewis, “Colophon”
Joshua McKinney, “[In Accord With What Happens, What I Have Observed]”
Sharon Bryan, “Not Onions”
Sarah Jackson, “Host”
J. Michael Wahlgren, “Souvenir”
Maryanne Hannan, “The Optimist”
M. Shani Brown, “This is Illyria”