Call for Submissions: Saw Palm Magazine

SUBMISSION GUIDELINES


Saw Palm is a Florida-themed journal, however we welcome writers and artists from across the country and the globe as long as the work is connected to Florida (via images, people, themes, et cetera). We also welcome creative works from Floridians that are not obviously about someplace else. Please check out past issues, available for download as free PDFs. We publish one issue per year in the spring.

We do not accept work that has been previously published either online or in print. We welcome simultaneous submissions as long as you immediately notify us of acceptance elsewhere. Our general reading period is between July 1st and October 1st, however submissions for Places to Stand in Florida are accepted year-round.

Send only one submission per genre at a time. If you have a pending submission, please wait for a response before submitting again. We make every effort to respond as quickly as possible while giving each submission the time it deserves. Our average response time for is 3-5 months. After 6 months, you’re welcome to follow up with the appropriate editor.

All submissions must be made electronically through our online submissions manager. Please upload prose and poetry files in .doc or .docx formats only. Art, photography, and comics should be uploaded in .jpeg / .jpg format only. Paper submissions sent via snail mail will be recycled unread.

Click here to submit.


POETRY

We accept up to five poems per submission period at a maximum of 10 pages. Combine all poems into one document and include in a single submission.

FICTION

We ask that fiction submissions be no longer than 6000 words. Please send only one story per reading period.

CREATIVE NONFICTION

We ask that submissions of memoir and essays be no longer than 6000 words. Please send only one piece per reading period.

FLASH FICTION & FLASH NONFICTION

We accept up to three works of flash fiction or flash nonfiction (750 words or less) per submission period. Please send all stories or essays in one document.

ART & PHOTOGRAPHY

We accept up to five submissions of art or photography per reading period. Please send files in .jpeg / .jpg format only. You may also include a URL if a portfolio of your work is online.

COMICS

We welcome submissions of graphic fiction and nonfiction of up to seven pages, whether in black & white, greyscale, or full color. Submit in .jpeg / .jpg format only. Keep in mind that the journal’s dimensions are smaller (5″x7″) than the average literary journal and so comics with small panels filled with intricate art are not well-suited.

INTERVIEWS

We are especially interested in interviews of Florida writers and artists, although we’re open to almost any Florida-related subject. Please query us about the interview subject first, via email.

REVIEWS

We are interested in reviews of any Florida-related subject: author, book, film, tourist attraction, CD, website, beach, park, toll roads, snack stands, local landmarks—anything! These reviews will appear on www.sawpalm.org. Unlike submissions of creative work, current or recent USF students and faculty are welcome to submit reviews. Size limit: 6000 words. Reviews appear on sawpalm.org.

PLACES TO STAND

Please tell us what it’s like to stand at a specific place in Florida at a specific time of day in 500 words or less. While we enjoy the unusual, locations should be public and accessible (so not your bathroom!) Please include GPS coordinates.

Unlike other categories, current or recent USF students and faculty are welcome to submit pieces for the Places to Stand series.

Poems submitted as part of the Places to Stand series are welcome but should be justified left and otherwise not have complex formatting and spacing. This is due to technical limitations in Google Earth.

Places to Stand appears on sawpalm.org.

Call for Submissions: Places to Stand

Saw Palm, the University of South Florida’s literary magazine, is calling for submissions for its series Places to Stand.

I found this call for submissions while working on my Submission Bonanza!, an attempt to submit work to thirty literary magazines in the month of July.

Since a huge part of my interest in writing and words is place-based, I am in love with this project and I wanted to share it with you all and encourage you to submit too!

Even if you don’t have writing about Florida, it’s a really lovely prompt.

 

What Is It?

Places to Stand is a literary map of Florida, using words instead of photos.  Each pushpin marks a point where a contributor has written a short nonfiction piece about what it’s like to stand at that particular place at a particular moment in time.  Some of the Places to Stand pieces are memories.  Some are written on the spot.  Some are written as poetry.  Click on the pushpins and take a literary tour through Florida time and space!

 

Places to Stand in Florida   (appears on sawpalm.org)
Please tell us what it’s like to stand at a specific place in Florida at a specific time of day in 500 words or less. While we enjoy the unusual, locations should be public and accessible (so not your bathroom!) Please include GPS coordinates.

Unlike other categories, current or recent USF students and faculty are welcome to submit pieces for the Places to Stand series.

Poems submitted as part of the Places to Stand series are welcome but should be justified left and otherwise not have complex formatting and spacing. This is due to technical limitations in Google Earth.

 

You can submit here!

 

 

 

Home

The landscape holds the deafening density of memory. The needles of each slash pine burst with the recollection of some childhood experience just on the edge of my mind. Each oak limb twists in the shape of a person long forgotten, whose name I would only recall if someone reminded me. It’s as if the trees and Florida air are storing the memories for me. They are my Giver, coddling reminiscences in case some day I might want them. I’ve seen them all before. Every sabal palm, every old oak, every casaurina. I’ve left pieces of myself in the sap of each tree. They whisper a promise to hold it, to free me, to lighten my load. It is only in this way that I am able to travel. In leaving behind the teenage worries and prepubescent fears, there is room for Thai macaques and Czech bridges.

But they are not lost.

The Spanish moss dangles with the whispers of elementary school friends. Mistletoe glistens with stolen first kisses. Pepper trees play melodies I know I’ve heard before. Even the formations of clouds seem to materialize into shapes that I’ve seen, in the same sunset, over twenty years ago.

Special thanks to _ryk from Flickr for the amazing photo!

You can take the girl out of Florida… (Thailand. Spring 2009.)

The pull of the swamp is unbearable. As if there is muck in my marrow. The brine I sweat has alligator gar swimming through it, snaky and smooth. It is a cycle that follows me even to Asia — too much grows, it chokes itself, and it falls to die in the water. The gases of decomposition lurk behind cypress knees and tamarind trees alike. They haunt the air and shimmy up to my nostrils. In my lungs, it is wet, it is safe, and it is warm. The perfect place for growth. The perfect place for rot. A steamy warmth for alligator eggs, filling my mouth and forcing a pearly grin. Small cracks and mucus begin to appear as they tumble off my tongue. The birth of baby predators, so cute, falling from my lips to the slippery algae below, is so much more than words.

Many thanks to http://www.flickr.com/photos/danielproulx/ for the picture.  Also, check out the other things on this flickr profile, because they are super cool.

Even in Florida (Florida. Winter 2005.)

 

Even in Florida

it gets cold enough

this time of year

that the leaves are pulled away

from their trees

with the acorns and pinecones

to explore the world alone.

The trees are left

with Spanish moss

as their only garments.

elderly left naked,

except for the gray in their hair.

The wandering leaves

make a cushion for my barefeet

as the lake fills my thoughts.

The water comes lower than ever now

and the lake looks still, tired.

Resurrection Ferns (Florida. Summer 2005.)

It never did rain.

The ferns waited,

their spines hooked

over themselves as they knelt,

trembling and praying

that the sky

would not be afraid

to open up

to them and weep.

They lined themselves in rows,

a whole parrish

clinging to an oak

which could not resist

the pull

of a soft bed.

The resurrection ferns

held their spored breaths,

waiting for the day when

the oak would itself rise.

They repeated their visions

amongst themselves:

the oak will ascend and lead and guide,

pull himself free

of the nails of gravity

and escape death

for he is more than a man.

Yet all kings fall

and the ferns may wander,

seek out their own

source of water.

Or they may be still

kneeling, praying, waiting

for a rain that doesn’t fall.

Creative Commons love to http://www.flickr.com/photos/deanaia/ for the beautiful photo!

Daughters Never Grown (Florida. Spring 2007.)

There are only plants today. The mosquitoes were blown away early. Love bugs hold each other in hiding. Dragonflies think themselves into sticks. Even the ants are gone. A lone chameleon bobs on the mango tree, tapping out a prophecy in morse code.

The birds of paradise are fluttering, flapping furiously to keep watch. Their shocking reds and oranges fly like flares heralding the coming of the wind. The grass is shivering, even though it is already May. Frangipani leaves begin to poke their heads out of stiff branches. They are still not convinced the time has come. They expected to be welcomed with showers and lightning — a thunderous cry to expose themselves. But they know they have been waiting too long. The angel’s trumpets have been calling, sending long fluted noted which start green and fresh and explode in screeching upside-down pink. The sounds coax the palms to dance, a primitive hallucination of a trance, a dance to tempt the clouds. Australian pines cry out as they sway, painfully praising the wind that moves them. The bougainvilleas are silent.

The mother mango listens and alone is still. She is weighted by the pregnancy of dozens of offspring, ready to feed. Her tiny flowers quiver and the beat of the shaman lizard plays on. Clouds move more quickly, as if gathering round to hear. The wind becomes more forceful, swaying the mangoes lasciviously. The angel’s trumpets begin to wail; the frangipanis gawk unashamed; the palms quicken to a frenzied dance; birds of paradise hold tightly to their stalks; Australian pines scream “halleluiahs” to the wind.

And just as suddenly it ends. A small patch of silent azure breaks over the tree, baptizing and cooling her. The chameleon hugs the trunk, exhausted by the omens. And slowly, as if gravity is lazy, thousands of white mango flowers drift to the ground. Floating like snow, winking like stars, swirling like Sufis. Hundreds of daughters never grown. Millions of mouths never fed.

Moon on a Lamppost (Florida. Spring 2002.)

We

bathed

in amber

last night

getting stuck

with mosquitoes

under an orange sheen

which made things

not illuminated, but

notdark.

So, surrounded

by a personal 11 pm we sat

under a lampshade of  notdark

and tried to get our feelings

out.

Even sitting back to back,

empty bookends, we held orange

light between us

a sinister glow.

I could see that nothing hid beneath its gleam,

no beady-eyed monsters lurked

in the harvest colored bushes,

but I could also see only shapes,

as if my eyes were taking silent hours

to adjust to the light on Crescent Road.

That tiny orange                              kept me from being

moon on a lamppost                     scared and kept me from seeing

you.

The Decomposition of Eden (Florida. Spring 2003.)


The Decomposition of Eden

 

 

       I want to show you this place, behind banyans and honey-suckle.  Backed into a mess of uncharacteristically sultry vinestreesgrassleaves, its wide open mouth gapes, screaming at us to enter and laughing with our delight at the same time.  It is submerged further than friendly waving palms, because it knows that everyone will settle for that idea of tropical. But not us.  As we kick through the grassy blades, mosquitoes splash out of the ground like water, as if we were full-grown children, splashing through puddles of winged humidity.  But we are not children, and our intentions are not innocent.  The fertility of decay seeps into our nostrils and seems to fill our heads with life.  Crooked vines and banyan roots hang down on all sides of us, lightning striking the ground.  The light is just right now, at dusk, to stab the canopy with a flaming sword of sunshine, orange and opening, pricking a gurgle of water.  The river runs past us, the father of the Euphrates, and you are surprised it is there, in hushed hiding.  You notice the fruit immediately, a flurry of fructifying vegetation.  Mangoes, oranges, papayas, and star fruit stretch out, seemingly seeping nectar just for us.  We eat: they are not forbidden.

I want to show you this place, which is not without its threats.  As the light begins to dim, the vines begin to slither.  They reach for us while we look the other way and hiss at us when we turn around to catch them.  They crisscross, making spun spider webs of foliage, and we have to be careful not to walk into them.  This can only be accomplished by finding a verdant seat.  There are no thistles or thorns, nothing to prickle our feet and grip our clothes, but we do not notice this absence.  We shed the coats of skins we have been wearing for so long. The bugs gather round, hesitating, spying, folding into flurries.  The mosquitoes attach themselves to your skin, and I realize I am jealous of the way they are clinging to you.  The trees swell, transformed and concealed by the checkerboard gleam descending on their branches and leaves.  It is difficult to tell in this glow which of the flowers are honeysuckle and which are angel’s trumpets.  It’s a risky mistake  to make, but the honeysuckle is tempting.

I want to show you this place where it seems like we could be alone.  It is a room of suspended banyan root walls and a tent covering of leaves.   The thick of tree trunks closes like an envelope, keeping people from reading us.  We cannot see anyone through these walls and ceilings, so no one can see us, we reason.  The horseflies come close to spy on us, coming out slowly from behind leaves and up from resting places in untouched grass.  They flood in quietly, undulating, making sure we do not hear them before continuing closer to our breathing bubble.  They tiptoed the whole way, I am sure.  We did not notice them.  To sit inside, our heads and shoulders framed by these viney gums, is to understand how our ancestors could think that they had found a place even God could not see them.  His many eyes, kaleidoscoped like the flies’, can’t be felt by tingling flesh, like the eyes of humans.  We pull blankets of leaves over our nakedness anyway.  It has become habit, by now, to cover up and blaming fingers protrude oppositely from each of us when we have a stab at the reasons for it.

I wanted to show you this place to end the arguments and it happens soon enough.  It does not take much time until we no longer realize that we are naked, and ashamed blamed digits fall to our sides.   It has become too moderate for the mosquitoes, and they give up for the night, following the sun’s example.  The grass cools the bruises on our heels and we become snake-like and god-like at once.  More snake-like looking, squirming in earth with our belly doomed to the dirt.  But we are close enough that our ribs melt together, every other rib of yours falling between two ribs of mine, and like that, we sleep.

I want to show you this place, where we can fall asleep rib to rib, where we are fooled into believing that horseflies and God cannot see us, where the honeysuckle and angel’s trumpets get muddled, and where deterioration is the formula to renew life.

Childhood Landscape (Florida. Winter 2012.)

The landscape holds the deafening density of memory.  The needles of each slash pine burst with the recollection of some childhood experience just on the edge of my mind.  Each oak limb twists in the shape of a person long forgotten, whose name I would only recall if someone reminded me.    It’s as if the trees and Florida air are storing the memories for me.  They are my Giver, coddling reminiscences in case some day I might want them.  I’ve seen them all before.  Every sabal palm, every old oak, every casaurina.  I’ve left pieces of myself in the sap of each tree.  They whisper a promise to hold it, to free me, to lighten my load.  It is only in this way that I am able to travel.  In leaving behind the teenage worries and prepubescent fears, there is room for Thai macaques and Czech bridges.  But they are not lost.  The Spanish moss dangles with the whispers of elementary school friends.  Mistletoe glistens with stolen first kisses.  Pepper trees play melodies I know I’ve heard before.  Even the formations of clouds seem to materialize into shapes that I’ve seen, in the same sunset, over twenty years ago.