Submission Bonanza!: Racking up Rejections, or 30 LitMags in 31 Days

I found this thought-provoking post the other day about The 100 Best Ways to Becoming a Better Writer on thecopybot.com.  Some of them are interesting ways to meet characters, such as “74. Sell insurance, cars or newspapers face-to-face for two months.”  A lot of them are imaginative and funny.  Some of them are just things you know you need to do, like “3. Write over a thousand words a day.”

But the one that really stood out to me and inspired me most was Number 66.

Rack up Rejections.

I haven’t been doing a lot of this.  I haven’t really been doing any of it.  In the past 10 years, I’ve maybe submitted work to 5 literary magazines.  At this rate, all my writing will sit quietly on my computer and collect digital dust until I die or my computer dies, and either way it will be lost forever. (Note to self: remember to back up hard drive.)

That’s not really how I’d like it to go.

I write because I care about inspiring people, about connecting with people in a more meaningful way than normal day-to-day conversation allows.  That’s not gonna happen if everything I write remains for-my-eyes-only-on-my-measly-little-laptop.

So, I’m challenging myself to rack up rejections this month.

So, self:

Put yourself out there, knowing that you will get lots of rejections.  Not everyone likes to read what you like to write and that’s ok.  Think of each rejection as a battle scar, a symbol that you’re fighting the good fight, getting closer to being who you want to be.

So here’s the plan:  I’ll be submitting work to 30 LitMags this month, one for each day (with one day off, just to make the number round!).  To try to keep myself honest, I’ll be posting them here as I go.  Feel free to join me!

Aaaaaaaand, we’re off!

1: Fourteen Hills

2: Flash Frontier

3: The Round

4: Bat City Review

5. Swine Magazine

6. The Minetta Review

7. Camroc Press Review

8. Black Warrior Review

9. smoking glue gun

10. The Journal

11. The McNeese Review

12. Mid-American Review

13. Front Porch Journal

14. Exegesis

15. Columbia

16. Yemassee

17. Clarion

18. The Southeast Review

19. Silk Road

20. The Portland Review

21. Reed Magazine

22. The Louisville Review

23. The Coachella Review

24. Rio Grande Review

25. Saw Palm

26. Switchback

27. Camera Obscura

28. Northwind Magazine

29. Slice Magazine

30. Post Road Magazine

Arachne

I don’t remember a time before I wove. I grew up in the fields, alongside my father and sheep.  There was never a mother around to birth me, nor was there any explanation given. My father had only the wool of his sheep to keep his bed warm at night.  He was known far and wide as the man with the purple flock, but this was a myth.  The truth was much stranger. 

Our sheep were the same muddied grey as the neighbors’.  The difference in the wool came from my father.  Alone at night, he would sit over the wool, refining and spinning it.  With his hands on the spinning wheel, tears would begin to fall, as if summoned by the whirring of the wheel.  As his feet pressed down, my father cried amethysts: tiny, shimmering mulberry tears which landed perfectly every time onto the rough yarn, turning it the color of violets and royalty, of pomegranates and jewels.  It was a color nature couldn’t keep and man wanted to grasp.

It was in this house that I learned to weave.  It seems I must have learned and yet… My father does not touch the loom.  He avoids it with a deathly fear.  I sometimes wonder if in playing with it as a toddler, I intuited how to use it.  Maybe it’s a skill deep in my blood that I inherited from my absent mother. Perhaps it’s older than that.

My days were always the same growing up, and yet they were never boring.  In the mornings, I would wake my father and we would tend to our dingy-cloud sheep, me, frolicking with the animals and him napping under trees.  He would cook us dinner and put me to bed and then begin his nightly ritual.  He would sob purple until piles and piles of luxuriant yarn lay in our kitchen.

It’s no wonder that he raised a daughter with amaranthine hair and orchid eyes.  It’s as if I were woven from the amethyst yarn.  And I always thought of myself that way, not born of a mortal, but as if I wove myself from magical tear-stained wool of my father.  Related to him, but not his.

It wasn’t long before I was using his salty, brilliant strands to weave intricate textiles. Each tapestry was a story I’d never heard, the detailed faces of goddesses and men looking out from it, caught in action.  More than just patterns or fractals, my weaving created whole worlds.  And being the daughter of a shepherd whose wool was already the talk of the town, it did not go unnoticed.  Merchants came to marvel. Princes came to purchase. Even nymphs took notice.  I will admit, with my father’s tinted tears and my nimble fingers, I felt that I was a god.

So I was not surprised when She showed up.  She came with a motherly demeanor and a proposal of competition.  I was stunned by Her, taken with Her owl eyes and glowing hair.  Though I knew it could not be true, I felt drawn to Her, as if She were the mother I’d been missing.  I saw myself in the creases of Her fingers and protrusion of Her chin.

“You’ve grown haughty, my child,” and I knew it was true.  But I wanted to show Her what I could do.  I wanted to make Her swell with pride at the fabric I spun.

She had brought Her own loom, and it sat immaculate in our sooty shepherd’s shack.  It seemed to shine and quiver, like everything She touched.  I yearned to tremble and sparkle in that way.  She sat and plucked at the strings, as if playing an instrument. She nodded at me to take my place behind my own loom and follow in suit. I started on my tapestry.  I could hear the strands under Her fingers sing as She strummed them wildly.   I dared not look up.  My eight fingers crawled over the loom, savagely spinning stories.  I worked faster and harder than ever before, until sweat dripped from my face, tiny black diamonds falling from my forehead into the pupils of characters I did not know, bringing them to life.  I could hear Her beside me, making Her loom cry out in a frenzied chant.  The narratives I wove became more detailed, more real, worlds within themselves.  Each thread held the vibrations of a universe and I could feel them all beneath my fingers, until I could no longer take the sensations: the sounds, the sights, the reverberations.  As I pushed the last strand into place, everything stopped.

I awoke to Her anger.  She stood over me, not with the concern of a mother, but with the fury of a god.

“The insolence…” She began, and my gaze followed Her golden finger to the two tapestries hanging side by side on the wall.  One, gleaming and golden, showed the glory of the pantheon.  Zeus threw thunder.  Poseidon’s trident created the very oceans.  Athena Herself inspired civilizations.  Mortals came from far and wide to leave gifts for the gods.  The other tapestry was beautifully dark with the gems of my sweat.  Zeus was a horny swan.   Dionysus could barely stand up.  And Athena aged a lonely virgin.  Along the edges, mortals glowed with eyes that were alive, that held the promise of death and passionate urgency of life.  They looked stunning and ephemeral and heavenly next to the gods.

I could feel Her boiling next to me and She flew at my tapestry, ripping it to shreds.  It was gone in an instant, tatters flying around the room as if it snowed tiny snippets of the stories I had spun.  Just as quickly, I felt a slap across my face and She was gone.  I was too shocked to cry.

I might have sat there for days, staring at Her weaving and at the tiny scraps of mine.  My father never came back.  I did not feel remorse, or hurt, or sadness.  I felt nothing, and that is why I did what I did.

It was She who found me, swinging from my father’s purple yarn, neck snapped and breathless.  Had She come back for Her masterpiece?  Had She felt remorse? Was She looking for me?  She took me down and cradled me in Her arms, holding me to Her chest, as if I were a babe sleeping.  I suspect She may have even cried.

She laid my limp body on the floor and held Her hands over me. “You’ll spin forever,” She chanted, again and again.  My chest raised up and my body became full and round. My eight spinning fingers grew long, longer than my body, longer than legs.  She kept chanting.  My eyes bulged, doubled and doubled, into iridescent black diamonds.

Now I am the mother I never had.  I call my children to me, black widows and wolves, funnel-webs and jumpers.  They gather round me and keep me company and I teach them to weave.

“You’ll spin forever.”  It was all I’d ever done, what I was born to do.

This post is the first in a series I am working on.

Creative Commons love to shelley1968 from flickr for the awesome photo.

Writing Challenge: When the Goddesses Come Out

 

 

Nymphs, goddesses, apsaras, maenads!  It’s May.  There’s a fresh exhilaration in the air.  Mother’s Day is coming up.  I have been incredibly inspired by all those bloggers who did the A-Z blogging challenge in April.  These things all fit together nicely in a little challenge that I am setting for myself.  This month, I am endeavoring to write about 26 strong, creative women from mythology.  So, the goal is to write 26 short stories, one based on a female mythological figure for each letter of the alphabet.  Feel free to join me, or to set your own goal for this month.  New growth and new beginnings are in the air!

 

A special Creative-Commons “Thanks!” to itjournalist from flickr for the photo!

Fall in the Long White Cloud

It’s a wet kind of cold, the kind that still allows things to grow.  The cloudy sky and diffused light makes the green of the plants more striking and they glisten with the drops of rain.  Actually, the rain doesn’t quite drop.  The air is so thick with water that it falls in a mist, mot even heavy enough to be a drizzle.  It makes me feel like I am walking through a long, white cloud, as if I am so far above the earth that I am inside the sky.  Only the moss reminds me that I am at sea level.

The tree outside my window has been dying all summer, but now, in the cold of the autumn rain it has begun again to grow.  It also seems confused by these antipodean seasons.  It lost its leaves in the shining sun of the summer drought, and now that it’s fall, it’s sprouting new life.

The koru seem unsure about whether or not to open.  I am sure I’ve seen the ferny tendrils on my path tentatively stretch open, and now they’ve closed again, as if pulling back from the abrupt, damp, winter.  Their spiral fractals seem to contract and breathe, opening timidly and closing again.

It’s on days like this I long to be outside, to feel the growth and life.  The plants and ground feel full with the potential that the rain brings, bursting with possibility and expectant growth.  I want that potential, that possibility, that growth.

 

 

This is a little birthday present from New Zealand for my awesome, amazing, inspiring cousin, Janelle.  

 

Also, Kiwi Creative Commons love to Brenda Anderson for the photo.  Thanks so much!

Amenhothep IV

         Amenhothep. That was what he had been called. Named after his father. But even his father regretted that. He was clearly not his father’s son. He came out misshapen, with a head too big and the shoulders of a woman. Not fit to be a king. Not even fit to be a prince. He didn’t hope to be invited anymore. He didn’t ask to go to ceremonies or carvings. Family sculptures were for the princely children. Siblings who came out looking normal enough, generic enough that any sculptor could make them beautiful, could make them look like a pharaoh should. Broad shoulders. Small waists. Perfect faces just waiting to be framed by royal adornments. His was truly a face only a mother could love.

And love she did. Fiercely. With a strength and ferocity that scared him.

But Amenhothep (Amenhothep IV, to be precise, because Amenhothep III was every bit the ruler he should have been) was different. Too different. Not eccentric in the way that was permissible for pharaohs. Not egocentric in the right way. His mother Tiye insisted that this second son bore his father’s name. Amenhothep. Amun is satisfied. It felt like such a lie. Even to the boy himself. Just imagine how his  father felt. How could his seed produce something so perverse, so… otherworldly.

He spent his time alone. His mother called him special and he was sure that it was not a good thing.

Together, his family was set in stone. Older brother, two sisters, Mother, Father… without Amenhothep. Festivals, reliefs, religious ceremonies. Left alone, staring at the sky.

It was always Sopdet that caught his eye. The Dog Star. Sirius, Sothis, Sopdet. How could it not? The brightest star in the sky felt like home to him. It seemed to shine for him, to call his name in whispers in the night. The days when Sopdet disappeared were the worst. 70 days straight without that bit of comfort, that tiny speck of support from afar. Each year it brought a winter to his heart.

One night his mother even caught him.

“Your world is here, Amenhothep.” Tiye surprised him.

“I know,” he said, nearly disappointed.

“Are you watching Sopdet?”

“Yes,” he looked at the ground.

“It’s special to us. The birthplace of Isis.” He had heard the mythology. It was not new.

“And of your father,” she intimated. He turned to look at her. Was she being mythological? Spouting the stories that kept the pharoahs divine? That was unlike her, he knew. His mother was straightforward, powerful, and not prone to indulging folklore. And yet… His father was just a man normal and mortal, as much as he pretended otherwise, Amenhothep knew. He narrowed his eyes and Tiye sensed his suspicion.

“Not that father.” She walked away, ending the conversation.

Creative Commons love to Archer10 on flicker for the photo!  Thank you!

Akhenaten (Winter 2012.)

Even when history is written in stone, it is re-written.  This is the nature of the story.  Suns and hawks and buffaloes are erased, scratched over to be reused in the temples of the future.  Reunderstood.  Re-envisaged.  Repostulated.  This is how Akhenaten was lost, struck from the roll of the pharaohs, a distant memory of a monotheistic heretic, a madman with only one god.  He built cities and temples and sculptures of stone and gold and they were quietly erased in the span of a generation.  Father of history’s most famous pharaoh, the first individual, founder of world religions and yet … forgotten.

Even when etchings are deep, the vengeance of history is deeper.

His lips were full, and so was his stomach, as if he were the bearer of life:  Mother and Father in one.  Son of the sun, he named himself.  Descendant of the stars. Yet “He is the sun, as compared to the stars,” the people wrote.   He shone and spun with energy and life.   He was daytime and dawn and we were drawn to him.  The pull of his large middle seemed to keep earth in orbit and suggested that he was … different.

His head was large, too.  And not just metaphorically.  His skull was not round, not adorned with the dress of kings.  Instead it jutted, backwards.  As if his brain were trying to leap out of his head.   As if he came born with too many thoughts for a human skull to hold.  Or too many questions.

His face was not manly and beautiful.  It was strange and androgynous.  His lips pouted, asking to be kissed.  His nose barely fit on his face.  And his chin, his chin was so pointy.  It turned his giant skull into the shape of an upside-down tear drop: a large, rounded cranium that ended in a small, pointy face.  And then there was the matter of his eyes.  They were big, but not round, enormous almonds that seemed to fill his brow.  With his mouth and eyes and nose, there was very little room for a face, to speak of.  Instead he was an immense head, full of features.   It wasn’t normal.  It wasn’t human.  It was almost alien – as if he did come from the stars.

He did not recline the way other pharaohs did.  He was not somehow both always at rest and gifted with an athletic, sculpted body.  His shoulders were small and his hips were large.  His arms and calves were so spindly that some likened him to a spider.  His thighs were so large that there were whispers amongst the people “Is he Oedipus, swollen foot?”  His mother was, after all, beloved.

Instead, he was lively, as if stone carvers always caught him in the act.  Each carving seemed to be a live-action photograph of a son of god engaged with his surroundings.  The cartoon pharaoh, always animated, surrounded by loved ones, animals, and the outdoors.  Not only acting as a ruler, but acting as a father, a man, a lover.  He was a king of movement: orbiting and revolving through the universe.  His pull and the pull of the world around him spun together, and inspired each other to dance faster and further.

You can see how the present had fallen in love, and how history was not amused.

Response to a previous prompt: http://lightningdroplets.wordpress.com/2012/02/10/prompt-rasputin/

Thanks to http://www.flickr.com/photos/zinetv/ for the photo of Nefertiti (?).

The 366th Day (Leap Day 2012.)

February 28th was like every other day, until midnight, when nature, reassuringly, fell apart.  It seemed that the powers-that-be drew their heads between their shoulder blades and sheepishly conceded that time was not as sane and stable as you’d been told.  The year was out of line to us sun worshippers.  Five hours, 49 minutes, and 16 seconds out of order, give or take.  And for that, every four years, except every hundred years, but not every four hundred, the calendar needed to be slapped with an extra day.

But this isn’t just any extra day.  This day boils with the possibilities of being outside of time.  Clocks and calendars hold their breath as they wait impatiently for the sun to catch up.  The planets and stars saunter slowly across the sky as alarm clocks hold in their ringing and watches repeat the same ticks over and over again.  It almost seems that the sky is teasing Earth’s timepieces, moving in slow motion and even pausing, just because it could.

It was on such a day that she came to you in red petticoats, dressed all in white save for the scarlet blooming from beneath her skirts.  She bore a crooked smile. She was daring you, even before she spoke.  Her irises seemed three-dimensional; as if her pupils were planets whose gravity had attracted rings.  She was decked out in emeralds, on fingers and toes, and somehow it never occurred to you to wonder where they had come from.  She murmured something about Irish traditions that you knew you were not meant to hear and suddenly her hair flashed to crimson.  Just as suddenly, it was black again and indistinguishable from the sky.

She takes your hand and she leads you to the river.  It is silent, as if the water has stopped flowing. It’s too black to see them, but you are almost certain that boats are rooted in the current.  And just when you mean to tell her that you’ve got no time to give her:

“Marry me.”  It was not a question, but it was a proposition.  In the thick humidity of the night, the sky paused long enough for you to wonder what that would mean.  If time would continue its mundane march through schedules.  Or maybe, just maybe, the gravity of this moment would bring the spirals of galaxies to a halt.  Maybe a leap made on a night like this would cause the rest of time to hold its breath, head cocked, suspended in a date that did not exist.

You know already what would happen if you refused.  You would owe 12 pairs of gloves.  One pair for each month in the wobbly year.  One glove for each hour in the faltering day.  They would be worn, again and again, hiding ringless hands.   And time would continue as it always had, orbiting a sun that did not seem to care.

And yet… in just this instant there seemed to be a way out of Big Ben’s repetitive clacking and the 10,000 Year Clock didn’t seem like such a bad idea.  The only movement in this moment came from the flickering of stars and the challenge in her eyes.  In this present, with the universe frozen to a temperature that was livable, the Long Now almost seemed possible.

Is that a chance you are willing to take?

Thank you to http://www.flickr.com/photos/telstar/ for the photo of the 10,000 Year Clock prototype!  Hooray!

The Weight of Bangkok (Thailand. Summer 2006.)

It was a small splash, the first time the Chao Phraya River touched her skin. It collected itself, making a rivulet, its own tiny clone, and slithered from her shoulder, down her back. It was easy enough to brush off at the time; her attention was focused on ochre-colored robes of tan-colored monks and the smell of sewage. The busy-ness of Bangkok is enough to distract even the most worldly of travelers. It would caress her often while she tried to wrap her mind around the city. She often mistook its gentle droplets for her own sweat. Little by little it seeped into her clothes. The algae would get invisibly caked in her hair. Bathing only made it worse, since it was the same snake that came out of the faucet, running in tiny streams down her legs and nesting in her drain, just waiting for the next time she would stand above it. It brought all of Thailand into her room. The sweat from the bathing mother. The piss of the Ko Kret buffalo. The decomposing rice leaves. The acrid saliva of Asian Open-Billed Storks. The ashes of incense from Wat Pai Lom. The river left them on her eyelashes, resting on the shelf of her belly button and curled in the ques of her pubic hair. In less than two weeks time, she was drowning in it, tangled in water hyacinth.

The combination of water hyacinth and wet heat left me with dreams of the Amazon. Before long, each day was laced with ayahuasca. My stomach ached for and wretched with the newness of each experience. My appetite left me completely, and food became just another beautiful band in the rainbow of the life around me. Piranhas nibbled my toes as I walked down streets dusty with the resin of car exhaust, curry-laced smoke, and incense cinders. Vipers strung themselves from telephone poles and carried the secrets of the city from Klongsan to Phra Pinklao. The sky let loose a constant rain of wet sunshine. Even at night, nothing was dry. The moist fervor of the city covered my body, making it a struggle to keep my hips still.

In the end, it was the weight of everything which finally drove me mad. Every blanket was too heavy to sleep under. Just thinking became dangerous because one could get smothered under the weight of a simple idea. Each thought that went into the air collected condensation and dust, becoming more and more tangible and visible, until it finally dropped to the ground in a puddle and actually existed.

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.

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.