15 March 2018
Make art about what the light reveals.
16 March 2018
“Do the transformations of memory
become the changing lines of divination?
Is the continuum of a moment a red
poppy blooming by a fence?” – Arthur Sze
Make art about the transformation of memory.
Geographer Otto Schlüter is credited with having first formally used “cultural landscape” as an academic term in the early 20th century. He defined two forms of landscape: the Urlandschaft (transl. original landscape) or landscape that existed before major human induced changes and the Kulturlandschaft (transl. ‘cultural landscape’) a landscape created by human culture. The major task of geography was to trace the changes in these two landscapes.
It was Carl O. Sauer, a human geographer, who was probably the most influential in promoting and developing the idea of cultural landscapes. Sauer was determined to stress the agency of culture as a force in shaping the visible features of the Earth’s surface in delimited areas. Within his definition, the physical environment retains a central significance, as the medium with and through which human cultures act. His classic definition of a ‘cultural landscape’ reads as follows:
“The cultural landscape is fashioned from a natural landscape by a cultural group. Culture is the agent, the natural area is the medium, the cultural landscape is the result.”
A 2006 academic review of the combined efforts of the World Heritage Committee, multiple specialists around the world, and nations to update and apply the concept of ‘cultural landscapes’, observed and concluded that:
“Although the concept of landscape has been unhooked for some time from its original art associations … there is still a dominant view of landscapes as an inscribed surface, akin to a map or a text, from which cultural meaning and social forms can simply be read.”
Make art about a cultural landscape, on reading cultural meaning in the shaping of land.
2 March 2018
Make art that’s a study in black & white.
3 March 2018
Make art inspired by a classified ad.
4 March 2018
Make art about consent.
5 March 2018
Make art about rebirth.
6 March 2018
Make art about what’s lost.
7 March 2018
Make art about what’s found.
8 March 2018
Make art by reenvisioning a set of directions.
9 March 2018
Make art about waiting for the storm.
10 March 2018
Make art about an apology.
11 March 2018
Cherokee, as well as a number of other indigenous languages, has no past or future verb tenses, only present tense.
Make art about living in the present. Or about how language shapes time.
12 March 2018
Make art about what lightens your heart.
1 March 2018
“By cleansing your mind, your soul will shine through you.”-Yogi Bhajan
Make art about cleansing.
27 February 2018
Make art about telling or hearing from someone these so-important words.
28 February 2018
Yesterday I had a talk with my students, one I have with all of my classes at some point in the semester, a reminder that it’s okay to ask for help.
Make art about asking for help.
26 February 2018
Make art about what the trees know, abut the wisdom of trees.
The Disappointed Housewife
a new literary journal for writers, and readers, seeking something different.
Their Call:
“We like the idiosyncratic, the iconoclastic, the offbeat, the hard-to-categorize. Out of the universe of fiction, poetry, and creative nonfiction, we want to attract work that plays with form and presentation. Work that’s not just outside the box but turns the box inside out.
We believe that imagination and the creative drive can guide literature toward a new stage in its evolution — a growth spurt. Multi-media, mash-ups, music, photography-as-writing: anything is possible.
As we like to say around here: Don’t disappoint the disappointed housewife.
Read our submission guidelines and send us your work if you think it will fit here. We’re listening.”
24 February 2018
Make art about what’s right there in the palm of your hand.
25 February 2018
Make art about peeling back the layers.
K’in wants to read your beautiful work!
Submission Details
Prose: 5000 words or less, open to content, form, structure.
Fiction: We welcome short stories of all shapes and sizes, from the mind-blowing traditional story to fiction that blurs the lines between forms, genre fiction, experimental fiction, etc. We also welcome flash and micro fiction.
Nonfiction: We’re looking for slow burns in a world of hot takes, questions asked instead of answers proved. We welcome a wide variety of nonfiction—traditional essay, narrative nonfiction, micro/flash memoir—and encourage experimentation, though not at the expense of factual truth. Too many true stories go untold, and we want to offer space to honor those voices.
Poetry: 3-5 poems, open to content, form, structure. Please don’t forget the power voice, sound, and time can have in poetry.
For all submissions, simultaneous submissions are permitted, but please let us know. To withdraw one part of a submission, please add a note in Submittable so that the information is instantly available to all editors. We will not process emailed withdrawal requests.
Experimental, traditional, playful, prayerful, celebratory, challenging: human—try us. Show us a new way to tell one of the millions of stories under that glorious sun.
Mary Carroll-Hackett: Poetry and Prose 
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