Submissions Close Dec 1. For complete guidelines and how to submit, click here.
When we re-mix something, we re-imagine what it is, what it was, or what it has the capacity to be. We live in a constant state of re-mix, taking the substance of the world as we experience it, then creasing and folding it at the corners to create something new, but familiar. Novel, but known. In this way, we allow our art to re-write narratives, re-play memories, re-stitch language, and re-state truths.
In Issue 72: Re-mix, we call for work that embraces re-imagination in all its possibilities. Send us work that forces us to re-consider myth, memory, and history as they’re known; to re-think the bounds of form and structure and convention. Send us work that relishes in collaboration, in collage; that asks us to re-think the relationship between the art and the artist, the word and the page, the language and its potential.
The stories, poems, essays, art, translations, and hybrid work we seek to include in Issue 72 do not have to be strict re-tellings or re-imaginations of preexisting narratives. We embrace work that interprets “re-mix” at any level of the creative process, in any form–including re-mixes with the self, and with one’s previous iterations of their memories or art.
Some examples we love include Carmen Maria Machado’s short story “The Husband Stitch,” which re-imagines urban legend; Terrance Hayes’s poem “The Golden Shovel,’ written in a form invented by Hayes and which gives homage to Gwendolyn Brooks; Kim Seong Eun and Cindy Juyoung Ok’s collaborative poem “P.S. Please Forgive Poor Grammar” in which emails are re-arranged; and Fat Free Art and Sotheby’s Old Master department’s Street Masters, which features street artists’ re-interpretations of classic paintings.
Send us your hybrid work, your cross-genre masterpieces, your collaborative experiments. Send us your poems that tear the world as you see it into pieces, then patch it back together. Send us your essays that re-write archives, your stories that re-imagine worlds.