Los Angeles Review seeks submissions for new issue


Submission Guidelines: The Los Angeles Review
http://redhen. org/losangelesre view/submissions /

Readings for Issue 8 are now open. Readings for poetry will close May 25, 2010. Readings in all other genres will close June 1, 2010. (Please note that readings close at the end of the business day on the date listed above.) Submissions received outside our reading periods will be discarded without notice.
Indicate title in the subject heading. For prose submissions, also indicate word count. Please include a cover letter and bio in the body of the email, and attach your piece as a single .doc or .rtf attachment, not as a .docx.

Simultaneous submissions are accepted if noted in the cover letter. No multiple submissions, please. Response time is 2-3 months.

Writers published in The Los Angeles Review will receive one contributor copy in exchange for first North American serial rights.

Nonfiction: We seek essay, memoir, and commentary told as compelling, focused, sustained narrative in a distinctive voice, rich with detail. Send 1,000-4,000 words or delight us with flash nonfiction that cat-burgles our expectations.

Fiction: We’re looking for to hard-to-put- down shorties under 500 words and lengthier shorts up to 4,000 words–lively, vivid, excellent literary fiction.

Poetry: Please submit 3-5 poems that will surprise us, wow us, and make us wish we’d written them ourselves. We are open to form, free verse, prose poems, and experimental styles. Our only criterion is quality.

Reviews: We welcome reviews of new and recent books of poetry, fiction, and nonfiction, particularly of books that have not received the critical attention they deserve. Send reviews of three to six pages. Please familiarize yourself with the kind of creative work we publish, as we are unlikely to print reviews of material that is vastly different from that which we feature in the magazine.

Translations: Please submit 3-5 translated poems that open the poet’s original vision to an English-speaking audience.

Send all submissions or queries to appropriate department email:
(replace (at) with @ when sending e-mail)

Managing Editor: <lareview.editor( at)gmail. com>
Poetry Editor: <lareview.poetry( at)gmail. com>
Translation Editor: <lareview.translati ons(at)gmail. com>
Prose Editor: <lareview.prose( at)gmail. com>
Fiction Editor: <lareview.fiction( at)gmail. com>
Nonfiction Editor: <lareview.nonfictio n(at)gmail. com>
Review Editor: <lareview.bookreviews(at)gmail. com>

Assist Chilean earthquake survivors


Earthquake devastation in Chile - photo copyright AP-Sebastian Martinez

Earthquake devastation in Chile - photo copyright AP-Sebastian Martinez

A massive magnitude 8.8 earthquake struck Chile early Saturday, February 27, 2010, setting off tsunami warnings for the entire Pacific basin. Reports estimate that over 700 people are dead and countless others are facing more damage from strong aftershocks. Emergency supplies such as food, water and medical supplies are desperately needed. The organizations below need your help now to be able to provide assistance in the days, weeks, and months ahead.

To ensure your contribution goes to Chile relief funds, please remember to designate your gift to “Chile Earthquake”.

List of mainstream, verified organizations accepting supplies and donations: http://www1.networkforgood.org/help-chile-earthquake

San Francisco Artist Network classes for visual artists




“ORGANIZATION:  Developing Your Body of Work

– Developing themes, creating series, titles, pricing, framing, managing your inventory, with Stephen C. Wagner

Wednesday, March 10th, 7-9PM


1246 Folsom Street, San Francisco

$20 at the door




Wednesday, March 24th, 7-9PM

“THE JURY IS IN:  Entering Juried Art Shows”

– Learn about juried shows, how to decide which ones to enter, tips to give you an advantage, how to manage your entries – with GUEST SPEAKERS: Priscilla Otani of Women’s Caucus for Art & Alex Farkas of ugallery.com


Wednesday, April 14th, 7-9PM

“PRESENTATION: Preparing Your Artist Packet”

– Written materials including artist statement & bio, documentation of your artwork, formats for your packet or portfolio, with Stephen C. Wagner


Wednesday, April 28th, 7-9PM       

“RISE ABOVE THE CROWD: Presenting Yourself as a Professional Artist”

– Insight from local art gallery professionals on what galleries are looking for and how to approach them – with GUEST SPEAKERS from local art galleries


Wednesday, May 12th, 7-9PM

“REPRESENTATION: Approaching Art Galleries”

– Identifying art markets, researching galleries, establishing your gallery criteria, standard practices, contracts, exclusivity, private sales, with Stephen C. Wagner 

ADMISSION:  $20 each lecture

ENROLLMENT:  admission at the door



1246 Folsom Street, San Francisco





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Amazing Announcement from Augusta Collins, East Bay jazz musician featured last summer

From Augusta Collins, jazz musician and artist, featured in last July’s issue:


Augusta Lee Collins


You may peruse Augusta’s music here:



 Augusta may be reached here: augustaleecollins@yahoo.com

About Augusta (and I have seen him live, he has amazing energy and a sweet smile along with a long history of distinguished compositions and musical collaborations.)

Augusta Lee Collins has been creating and performing his original music at Café Valparaiso (La Pena Cultural Center) in Berkeley, California as well as dozens of other venues, in the bay area for three years with his partner fellow musician, Toney Thibodeaux.  Augusta is forever pushing his ideas musically and visually and creating new music.  Augusta, hears, feels and visualizes his creative journey bringing a very unique blends of music all original music, written and performed by Augusta Lee Collins.  Augusta is an artist consistently widening and extending his horizons.


Augusta Lee Collins is best known as a very talented drummer that was most prolific throughout the late 1960’s and into the middle 1980’s.  Performing with legends like Lightnin’ Hopkins, Herbie Hancock, Abby Lincoln, Sun Ra, Bobby Hutcherson, Frankie Bevelely and Maze,  and the Pointer Sisters to name a few, Augusta showed an interest in all forms of music very early.  Augusta has performed at the U.C. Berkeley Jazz Festival three times and the Monterey Jazz Festival as well as performing with the Oakland Symphony Orchestra, Harold Fiberman conductor and musical director.

Ramana Vieira and band: soulful Portuguese fado singer…upcoming Berkeley performance


Ramana Vieira, Portuguese Fado Sensation to Appear in Berkeley April 3rd

April concert announced at Berkeley’s famous Freight & Salvage
April 3, 2010
Show starts at 8:00p.m.
Tickets: $20.50 advance / $21.50 at door
Can order online or by phone 510-644-2020
Freight & Salvage
2020 Addison
Berkeley, CA 94704
(510) 644-2020 
Hear some of Ramana’s music free here:
Fado is a  significant form of traditional Portuguese folk music that Ramana pulls into the 21st century with her haunting melodies. Ramana’s rich, musical artistry combined with her unconventional original style have transported audiences throughout the world with highlights that include: sharing the stage with Grammy nominated fadista Mariza; performing her original song “Unido Para Amar” for the 2006 Winter Olympics video montage; making her international debut with RPT TV Portuguese network; and chosen to sing for the Grammy’s 50th Awards special Music Cares benefit to honor Aretha Franklin
Ramana Vieira has a new CD, ‘Lagrimas De Rainha (Tears of a Queen)’ released March 24, 2009 by The Pacific Coast Jazz Label, climbed to 43 on the World Music Radio charts nationally.
“Fabulous Fadista” – Andrew Gilbert, Metro Santa Cruz
“The Rising Star In World Music” – San Francisco Examiner
“The New Voice of Portuguese World Music” – Mundo Portugues
Ramana Vieira is joined by her award-winning ensemble: Marcie Brown on cello, (Sting, Pavarotti and Cirque du Soleil), Jeffrey Luiz on classic guitar, Stephen La Porta on percussion, and Alberto Ramirez on electric bass.
Ramana Vieira sings with such a wide range of emotions one cannot help but be mesmerized by images of “old world” Portugal that emerge from the depths of her soul. Her extraordinary gift of bringing this 15th century style into modern times is her unique trademark. Often referred to as the “New Voice of Portuguese World Music,” this powerful vocalist is making her mark as one of the premier contemporary Fado artists. According to the Portuguese, Fado is a melancholy and often-mournful music similar to the American blues as it tells stories of heartache and disappointment. The essence of the poetry is the quality of “saudade,” a word that is difficult to translate as it expresses a myriad of feelings. 

Slash Pine Press seeks chapbooks of poetry


Slash Pine Press is pleased to announce our second call for chapbook-length manuscripts of poetry or mixed-genre (prose poetry, micro-essays mixed with poems—we’re flexible). We are not looking at “traditional” fiction at this time. Please take a moment to familiarize yourself with our mission and submission procedures, which can be found at www.slashpinepress. com. If our aesthetic and philosophical ambitions line up with yours, please send us the best work you’ve got.

We are looking for innovative work, no longer than 24pp. Our submission period opens March 1st, and extends through May 1st, 2010
Please note, to anyone familiar with the press, our website has changed. It is now
www.slashpinepress. com
Please refer to the website for more specific guidelines.


Joseph Wood, editor
Slash Pine Press
Dept. of English
PO Box 870244
University of Alabama
Tuscaloosa, AL 35487-0244
Please feel free to contact the editors at <slashpinepress( at)gmail. com> (replace (at) with @) if you have any further questions.

When the World Goes Bananas…new dance event from Tim Rubel, opens this month at Counterpulse in San Francisco

Tim Rubel, Dancers, and Bananas

Inspired by the writings of Eugène Ionesco, “Bananaritis” is a descent into the abyss of comic absurdity.”

“Although not a direct comment on the role of the phallus in society, Rubel’s banana exhibits sexual, cultural and social potency.”

-Phinn Sriployrung, Highlander Press, University of California, Riverside.


Bananaritis is a performance piece by Tim Rubel Human Shakes, that combines contemporary dance styles with theatrical spectacle to create a strange world where intimate queer relationships are being re-imagined because of a strange new symbol of social order; the banana.  There is no real significance of the symbol for this new world order being a banana, other than perhaps its phallic shape.  It is really just a random object for people to project their obsessions onto.  Using humor and satire,  Bananaritis suggests that societies have often become obsessed with the most ridiculous ideas, thus allowing them to be led down a path where sensible communication is no longer possible, and individual opinions are replaced by fascist ideology.

Throughout the dance, queer individuals are consistently negotiating for affection from others and sometimes achieving it, but often being rejected.  Still they continue to pursue these people just as they continue to become more infatuated with bananas.  In the end, all of the dancers’ individual identities are lost when they are all transformed into militant life-sized bananas.  In this new banana order no individual forms of sexual, racial, or gender equality are allowed.  All must submit to becoming bananas and recruiting more members for the movement or risk isolation and imprisonment. 


“I do not reference any specific fascist or anti-queer movement in this piece.  Instead, I am interested in creating a performance representation of one, and allowing the audience to develop their own theories about it, based on their lived experiences with the politics of power and the disciplining of individual bodies.”   -Tim Rubel, Choreographer.


Bananaritis is loosely based off of the theatrical writings of 20th century Absurdist playwright, Eugene Ionesco (1909-1994).  Ionesco’s plays often centered around an individual’s resistance to limitations put onto his/her life by the hegemonic political system in which they live.  The initial inspiration for making choreographic material came from several of Ionesco’s early plays where a re-occurring male character by the name of “Berenger” is the protagonist resisting the highly provincial social and political norms of his community. 

Choreographer, Tim Rubel read many Ionesco plays as well as his own reflective writings about his work and the Theatre that produced it.  He started to notice that Ionesco’s plays; particularly the “Berenger plays” had possibilities for a queer interpretation.  He began to think of Berenger as a queer identifying person who is acting against the absurd ways in which many political systems attempt to discipline queer bodies.  He then began to construct movement that was trying to get at this idea, using lines from Ionesco’s The Killer and Rhinoceros.  Like the dialogue in an Ionesco play, the choreography in this dance plays with alternative logic patterns.  The dancers interact with each other making strange physical choices, while verbally communicating in ways that seem utterly confusing at times.  However, it is (hopefully) clear to the audience that in their (the dancers’) world, they are acting perfectly normal.   Bananaritis was first presented at the University of California, Riverside on Oct. 15th, 2009.



When:  Saturday March 20th 2010.  One show only!




Where:  CounterPULSE:  1310 Mission St. @ 9th

               San Francisco, CA


Tickets:  $20.00/At the Door

                 $15.00/With reservation

                 $5 discount to all CounterPULSE members.


For reservations call or email Brown Paper Tickets at (800) 838-3006 or go to www.brownpapertickets.com.

For information on CounterPULSE please visit www.counterpulse.org

For information on Tim Rubel Human Shakes please email Humanshakes@yahoo.com or call (401) 440-5440







  Continue reading

The Lab in San Francisco seeks visual, literary, and performance submissions


Call for Entries – Black Lab (Working Title)  
The Lab is seeking visual art, literary, and performance submissions for a group exhibition uncovering the shadow side of art.Of particular interest are proposals that investigate negative astral correspondences in art history. We are looking for two- and three-dimensional pieces, video, installation, interactive, and experimental works involving anarchic local counterculture rituals, nihilist esoterica, and a generally arcane aesthetic.

Submissions must be received by June 1, 2010. Please do not send packages that must be signed for upon delivery, or that must be picked up from the post office.

To submit, please send:

  • 5 − 7 images: jpeg or gif, Mac formatted, no larger than 1MB each, on CD (no FTP or YouSendIt)


  • 3 − 5 pages of manuscript or manuscript excerpt: 2 hard copies and a Word doc or pdf on CD


  • Up to 3 video samples — we will watch the first five minutes of each

(Please note: while we will review artist websites if you submit a link, we do not currently accept online file transfers such as DropBox or Box.net. Thank you for your flexibility.)

  • An artist statement
  • A CV or résumé
  • Complete contact info
  • A SASE if you would like your materials returned

Please send materials to:

The Lab
Attn: Black Lab
2948 Sixteenth Street
San Francisco, CA 94103