Arts and Humanities Commons^™

Deaf Southern Star, September 2020

Deaf Southern Star

A newsletter published for Deaf Catholics in New Zealand

Deaf Southern Star Finding Aid

Amjambo Africa! (September 2020), Kathreen Harrison

Amjambo Africa!

In This Issue...

Indigo Arts Alliance.....................p.2

publisher’s editorial.....................p.4

registering to vote.......................p.4

French............................................p.5

Swahili...........................................p.6

Somali............................................p.7

School resource officers ..............p.8

U.S.-Canada border.....................p.8

News from Africa.........................p.9

Finance/buying a home.............p.10

Guest columns..............11/14/20/21

World market basket...........p.12/13

Héritier Nosso............................p.15

Community org. News........p.16/17

Kinyarwanda..............................p.18

portuguese .................................p.19

outdoor learning.......................p.23

bus Shelters................................p.23

Racial Justice And The Image Of Public Health, Marilyn Fischer

Philosophy Faculty Publications

The City Commission in my hometown of Dayton, Ohio recently adopted a resolution declaring racism a public health crisis. In doing so, Dayton joins municipalities around the country, as the global pandemic of coronavirus COVID19 swirls around us. The Commission gave compelling reasons for their action, citing the disparate rates of poor health outcomes in African American communities, as well as disproportionately high rates of poverty, unemployment, economic distress, homelessness, incarceration, and inadequate education.1 The Commission’s commitment to remedy these inequities is welcome. Others have laid out this evidence in much detail; I want to focus here on public health …

Hesed: Engaging New Generations For Earthkeeping, Keith Ham

Doctor of Ministry

Within the Christian community, a critical gap of failing to address the degradation of the planet in a meaningful way has led to impoverished views theologically and in praxis and experience. In the context of earth care, independent African churches acquiesce her role and responsibility to conserve the land and conceive of new ways to envision creation care because of her models of prosperity theology and a millennium future. By intensifying a trust in God and allowing his covenantal love for and with creation the coherence of the Christian story is not compromised. Research in the metaphors of trusteeship and …

Fractals As Transpersonal Metaphor, Larry S. Liebovitch

International Journal of Transpersonal Studies

N/A

Because The Nature Of Nature Is Fractal: The Liberatory Potential Of A Fractal Epistemology, Katthe P. Wolf

International Journal of Transpersonal Studies

N/A

The New Yorker Rejects Itself: A Quasi-Scientific Analysis Of Slush Piles, David Cameron

The Review Review

It began as the kind of logical argument that seems airtight to anyone who has never studied logic. If the New Yorker is the most desirable literary magazine in the world, and if the New Yorker can have any short story the New Yorker wants, then whatever story the New Yorker gets would—logically—be so intrinsically desirable that all lesser literary pubs (e.g., everyone) would pine for it. Just like the prettiest girl at the dance: the guy she picks is the guy chicks dig. Basic deduction 101.

"We’Ll Always Publish A Good Story": A Chat With Grant Faulkner, Editor Of 100 Word Story, Grant Faulkner, Leslie Cauldwell

The Review Review

For writers who need a warm-up exercise, Grant Faulkner’s got a challenge for you: In 100 words, try to capture a “frisson, a shard, and a tiny moment.” Officially, Grant Faulkner is a recent runner-up for The Southwest Review's 2010 David Nathan Meyerson Fiction Prize. His stories have appeared in The Southwest Review, The Rumpus, Gargoyle, The Berkeley Fiction Review, Word Riot, The Big Ugly Review, Used Furniture Review, Ink, and Transfer. He's currently the managing editor at the National Writing Project and founding editor of 100 Word Story. He's …

The Submitter's Dilemma: Choosing The Right Literary Magazine For Your Work, Becky Tuch

The Review Review

There are over 600 print and online literary magazines today, not to mention dozens of new journals starting up all the time. If you are new to submitting your work, the sheer quantity of literary magazines can be quite terrifying. How do you even begin to sort through the wealth of offerings? How do you know a prestigious journal from a less established one? How do you find the journals that feature the sort of work you like to write? What are your odds of being accepted in one journal over another? Do literary agents read literary magazines, and if …

"Stories Can Offer A Reader A Very Good Time": A Chat With April Gray Wilder, Editor Of Flock, April Gray Wilder, Noah Friedman

The Review Review

Flock was founded by author, musician, artist, and UNF faculty member Mark Ari, and UNF students in 2002. The journal seeks to publish all varieties of fiction (traditional, experimental, and everything in between) and is based on the premise of literature as an addictive experience. Since its inception, the journal has been a part of a growing literary community in North East Florida and has attracted authors from across the United States and world. Flock is used in UNF literature courses, has showcased author readings, and has hosted its own workshops. Current editor April Gray Wilder was kind enough to …

The Seven Habits Of Successful Writers, Leslie Greffenius

The Review Review

One of the thrilling but daunting tasks of becoming a better writer is that you have to design your own curriculum. Sure, you can participate in helpful writing workshops taught by admired authors or read various experts' books on craft, but you still have to choose for yourself which courses to take and what books to read. Even if you attend an MFA program, you have to decide what to write and how, whether or not to outline, how to undertake revisions, when and where to submit your work and so on. In many ways, writers are their own teachers, …

Working With An Editor… And Learning How To Learn, James Scott

The Review Review

Question: I had a story accepted and the editor wants me to make changes. This is my story. I’m torn… What should I do? —Brian First of all, congratulations, Brian. Take some time to enjoy your success. I’ve been thinking about this question a lot lately. Or, rather, I’ve been thinking about editors a lot lately with the tragic passing of Jeanne Leiby on April 19. Jeanne was the editor of the Southern Review, the Florida Review before that, the fiction editor at Black Warrior Review before that, and a crossbow aficionado always. (What does that have to do …

Hidden Gems: Publishing Novel Excerpts, Dell Smith

The Review Review

Are you too busy working on a novel (or blog post) to devote time to revising and sending out that stack of unfinished short stories? Fear not: You may already have a few almost-ready-for-publication stories sitting idle on your hard drive and not even know it.

“A Good Editor Is Such A Fantastic Learning Experience”: A Chat With Memoirist Jean Harper, Jean Harper, Tanya Perkins

The Review Review

Jean Harper is the author of, most recently, Still Life with Horses, a memoir (Howling Bird Press, 2017). Her other writings have appeared in The Iowa Review, North American Review, Florida Review, and elsewhere. She is a recipient of a National Endowment of the Arts Fellowship in Prose, and has been in residence at Yaddo, MacDowell, and the Virginia Center for the Creative Arts. She teaches writing at Indiana University East. More at www.jeanharper.org.

Prioritizing Language, Voice, And Authenticity: An Interview With James Mcnulty And Jerrod Schwarz, Editors Of Driftwood Press, James Mcnulty, Jerrod Schwarz, Sanjeev Sethi

The Review Review

Driftwood Press is a bi-annual literary magazine founded in Tampa, FL in 2013. The editors search for "artists who care about doing it right, or better." The magazine publishes fiction, poetry, photography, graphic narrative, and interviews, but the editors are also open to experimental and hybrid forms. James McNulty is the fiction editor; Jerrod Schwarz is the poetry editor.

Revise In Haste; Repent At Leisure, Randy Susan Meyers

The Review Review

Just when you think you’re done with revision, guess what? There’s room to do one more (or maybe two, or three.) The smartest thing my agent did for me recently (uh, except for selling my book) was suggesting that one more revision on my current work-in-progress would be beneficial. (Her words were a little more pointed, actually. But that’s why I love her.) I don’t know about you, but I read books with an eye towards how well they were revised. Not just well written, but well revised, because it’s between the first flashes of imagination and the last comma …

On False Notes And Forced Endings, Ron Maclean

The Review Review

Sometimes you have to force it. Sometimes you have to fly in the face of your principles and do the things you advise your students—and yourself—never to do. It's the craziest part of being a writer: even the best advice isn't the best advice every time. Sometimes you've got to break your own rules.

Koalas, Blowback And Ick Factor: Finding Ways To Write From The Heart, Chris Abouzeid

The Review Review

At a reading many years ago, Tobias Wolff (award winning author of In the Garden of the North American Martyrs and This Boy’s Life) talked about the fear factor in writing. Good writing, he said, the best writing, should make the author nervous. Actually, he didn’t use the word nervous. He said “scared”—as in, “Do I really want to know this about myself? Do I want the world to know this about me? Oh my god, is it too late to buy up all the copies and burn them?!”

"We Prefer Pieces With A Stronger Energy": A Chat With Jobeth Mcdaniel, Editor Of The Rush, Jobeth Mcdaniel, Laura Moretz

The Review Review

The Rush attracted submissions from all over the world for its first issue and paid each writer. Based in Los Angeles, the title and aesthetic are based on the idea of the Gold Rush and the fast pace of life in L.A. JoBeth McDaniel, a member of the magazine’s editorial team, took The Review Review’s questions.

Pain Cannot Destroy Us, Annie Neugebauer

The Review Review

I haven’t written any fiction or poetry in almost three months. There, I said it. That’s a hard confession to make, for someone who considers herself a full-time writer. I haven’t been doing my job (or at least the most important part of it) in a quarter of a year. Oh, I’ve been blogging, editing, reading, submitting, networking, etc. But we all know that the most important part of being a writer is writing. The rest is just playing dress-up without it. I haven’t told this to anyone until now. I am ashamed. And the worst part? It’s not writer’s …

The Risk-Taking Writer Is The Successful Writer, Susan Tepper

The Review Review

Years ago, maybe fifteen, or more, at a writing workshop in NYC, a guest editor from The New Yorker made the following statement. She said: I read the first line. If I like it, I read the second line. And, so on. Her statement shook my world.

"Where Language Breaks Down": A Chat With Jason Thayer And Aaron Reeder, Editors Of Blue Mesa Review, Jason Thayer, Aaron Reeder, Matt Broderick

The Review Review

Jason Thayer is an MFA student at the University of New Mexico and the Co-Editor-in-Chief of Blue Mesa Review. This year, his fiction and non-fiction pieces were published in Hobart and the Rumpus. In the past, his stories have won contests judged by Antonya Nelson and Bret Lott, respectively. He is currently knee-deep in writing a memoir. When he isn't writing, he is recording and performing bleak and unusual hip hop. Twitter: @jasoncthayer Aaron Reeder writes from Albuquerque and is an MFA student of poetry at The University of New Mexico. His poems have appeared or are forthcoming …

The Diagnostic & Statistical Manual Of Main Characters, Chris Abouzeid

The Review Review

You put your heart and soul into your main character. You present him/her to your workshop or agent or editor, and you get: “He just isn’t likeable,” “I couldn’t picture her,” “Didn’t seem very believable.” Aaaah! That character was you, or some version of you, or just a character you happen to really, really like. How could people think he’s a jerk? How could they think she was vague, inconsistent, unbelievable? Yes, you could put bricks in your pockets and walk into the nearest river. But before you go all Quentin (Compson, not Tarantino) on us, consider this. Your character …

Politically Oriented Lit Mags: A Resource List, Lauren Rheaume

The Review Review

In honor of the Occupy movements that have sprung up in past months, in honor of anyone who has ever been angry, skeptical, or scared, in honor of writers who dare to express their views...here are some politically oriented literary magazines.

"Literary Journals Have Always Been The Place Where Editors Can Take Chances": A Chat With John Mcnally, John Mcnally, Chuck Augello

The Review Review

In an ideal world, everyone would be reading John McNally. In novels like The Book of Ralph, After the Workshop, and America’s Report Card, McNally mixes vivid characterization with closely-observed settings to create sparkling comic narratives that linger in the reader’s mind. In McNally’s latest work, The Boy Who Really, Really Wanted to Have Sex – The Memoir of a Fat Kid (Elephant Rocks Books), he steps away from fiction for his first memoir—an engaging collection of essays about growing up in the 1970s.

What Editors Want; A Must-Read For Writers Submitting To Literary Magazines, Lynne Barrett

The Review Review

A magazine editor is a person who enjoys bringing new writing to the world in a publication that will be seen, read, appreciated, and talked about. This is the first fact anyone submitting to a magazine should understand. There may be two editors, or five, or a rotating group of a dozen student-editors on a board, but for purposes of this essay, let’s consider one who, if not totally in charge, has a large say in what goes on. This editor is committed to the magazine, to it reaching a readership, to its identity and survival. The editor wants nothing …

Lit Mags For The Ladies, Becky Tuch

The Review Review

Some people are opposed to the idea of special interest literary magazines. Perhaps this is for good reason: Why should women or minorities need their own space to publish? For crying out loud it's 2011. Can't we all publish together by now? Still others see nothing wrong with these types of journals. Why not have a space where one particular group knows they will have their voices heard? It's nice for readers too who want to feel part of a certain kind of community. Hate them or love them, special interest journals do exist. So for all you literary ladies …

Go On And Strut Your Short Shorts: The Greatness Of Flash Fiction, Becky Tuch

The Review Review

It's summer here in Boston, and I can think of no better time to talk about short shorts. That's right. Micro-minis. Stories so short they'll make your mother drag you back into the house until you promise to write something decent, like a novel!

“I Don’T See A Journal Promoting South Asian Poets As A Narrow Boundary": A Chat With Sreshtha Sen, Editor Of The Shoreline Review, Sreshtha Sen, Sanjeev Sethi

The Review Review

In its mission statement, the editors of The Shoreline Review, which debuted in 2018, write: “TSR has its eye on the shoreline. We’re dedicated to publishing writers who are commonly excluded from mainstream literary communities. If your writing explores issues of feminism, casteism, nationalism, self-determinism, racism or you identify as queer, trans, differently abled or otherwise marginalized, thanks to the higher authority of powerful publishing houses, we encourage you to submit." Note: The Shoreline Review currently only accepts submissions from poets who identify as South Asian.

"There’S A Place For You, Too": A Chat With Tony Foley, Editor Of Callosum, Tony Foley, Robert Fromberg

The Review Review

Several years ago, a group of high school students was crossing the street in front of my stopped car. I recognized one, whom I knew to be an incredibly talented visual artist. I wondered how many other gifted and passionate young artists were in the group, or among clusters of students at this moment in communities around the world; I wondered whether their talent was encouraged or even known. The artist I recognized is now visual editor of Callosum Magazine, whose mission is to create a community for emerging artists in all genres. The publication is second to none …