Tuesday, January 31, 2017

New Assistant Editor at Redux

Welcome to Redux’s new assistant editor for poetry!

Clara Jane Hallar, assistant editor, is a poet currently residing in Spartanburg, SC. She will graduate from Converse College June 2017 with a Master of Fine Arts degree of Creative Writing with an emphasis in poetry. Her creative work is inspired by poets like W.S. Merwin and Jim Harrison to Carolyn Forche and Elizabeth Bishop, and her critical research dives into the world of political poetry, defining the purpose of poetry to go beyond the page with the spirit of Adrienne Rich's "the personal is political" in mind. She is a co-collaborator of a poetry reading series called "Pints & Poets" in partnership with Converse CollegeHub City Tap House, and MFA Director Rick Mulkey. Pints & Poets is a creative cask series that celebrates the local Carolina poetry community and has three events per academic fall and spring semesters. Read more about the series here

Tuesday, January 17, 2017

Redux Open to Submissions February 15 – March 15

Redux Open to Submissions February 15 – March 15

Redux, the online journal of previously published work, is accepting submissions of fiction/poetry/essays during an open reading period: February 15 to March 15.  We’re looking for literary work of high quality that has been previously published in a print journal but that is not available elsewhere on the internet.  Our mission is to bring deserving work to a new, online audience.  Preference will be given to older pieces (i.e. published before 2012).

No novel excerpts, poems that appear in chapbooks, or pieces published in anthologies…even if these books are presently out-of-print.

Please read our guidelines for important submission information.  If your work is accepted, you will also be asked to write a short “story behind the piece” essay a la the Best American series. Pieces must be available in a Microsoft Word file.

Authors we’ve published include Margot Livesey, Sandra Beasley, Robin Black, R.T. Smith, Michelle Boisseau, Kelle Groom, Erica Dawson, Catherine Chung, Walter Cummins, Lee Martin, Dave Housley, and Terese Svoboda.

We look forward to seeing your work!

Questions: reduxlj AT gmail DOT com

Wednesday, October 5, 2016

On Hiatus

Redux will be on official hiatus through mid-January 2017. At that time, we will return with a period of solicited material, and in February 2017, or thereabouts, we will be open for a period of open submissions. Please read the submission guidelines for more information—and CHECK BACK for the exact dates submissions will be open and other necessary information.

In short: DO NOT SEND WORK NOW. It will be deleted without response, and that will make us all feel sad.

In the meantime for your reading pleasure, please check out the Archives or this 200th anniversary post of popular pieces.

See you soon…and, as always, thank you for your support of Redux!

Monday, October 3, 2016

#221: "Development Girl" by Pamela Balluck

            ~This story first appeared in Western Humanities Review (1999)


Rose is worried about how to answer Mr. Fly-By-Knight Productions’ question (why did she leave her last job?) in a way that won’t make Ray look bad. She cannot say the why of the truth—Oh, we pitched a T.V. movie about a hoax to our bosses, the former quiz-show scandalers—so, she’s going to say the general truth (Fly-By-Knight may already know)—Ray lost his development deal there—euphemistically, it “expired”—but, before she can get it out, Fly-By’s next question is, “Are you wearing a bra?”
            Rose is thinking, this is some kind of a joke, right? A test to see if she has a sense of humor, or if she’s too young, too immature, flusterable, impressionable, malleable, too serious for the position, anything to comprehend this bald guy older than her dad asking her what lies between her nips and the shirt she just ironed so damn carefully for this interview. It makes her think of wasted dates she worked so hard dressing for, only to find whomever is most impressed when her clothes are crumpled on the floor.
            So, she wants to be sophisticated. She answers, yeah, she’s wearing a bra. She doesn’t want to make a big deal. And he says—“Why don’t you go in the john and change out of it? Then we’ll continue more comfortably.”
            He laughs. He shakes his head like Rose has got him wrong. “With your blouse on. Unless you think it’s appropriate without.”
            He is putting “appropriate” on her? She just sits there.
            He says, “Say I’ve got Beatty coming in, I’ve got Hamilton, I’ve got Scott—guys I want to be comfortable, you know, relaxed, when they walk through our doors, relaxed when they walk out. Doesn’t make sense to have some smart, beautiful, uptight girl, you know, first-thing-to-last in here. We need them coming back, wanting to work with us. A beautiful girl just inside our doors, outside my door, relaxed about who she is, makes a man feel all right in his skin, keeps his, you know, creative juices flowing—makes for an all-around more comfortable office experience.”
            “I just want to make sure,” Rose says. “Jess says you’re looking for a development-slash-production assistant?”
            “Am. Can see, though, Erik and me, we’ve got room for only one more in these offices— receptionist, D-Girl, secretary, P.A., dependin’ on what’s doin’. Let’s talk more about specs when you’re more yourself. That’s who I want to be talkin’ to.”
            Rose is too smart for why-don’t-you-slip-into-something-more-comfortable. But, there’s no one else to play this thing off of—the associate producer, Erik, and the woman who’s leaving (why exactly?)—they are both out to lunch. Is he kidding?
            She finds herself in this guy’s bungalow john, thinking, Jess, Ray’s wife (and agent), who set this thing up, goes way back with Fly-By, before Jess knew Ray, back to her Paramount days, and she is like an aunt to Rose, so Fly-By, Rose figures, is kind of like an uncle, or should be. Rose realizes how stupid it is to pretend she can think like that, when at twenty-three she knows better. Especially after Jess asked her to fill in as Ray’s “date” to the Western-themed S.H.A.R.E. benefit and when Jess got back into town, so-called friends told her they hated to report it but Ray was out with some young filly. He seemed pretty tight with her. Rose figures Uncle Fly-By knows he shouldn’t pull anything he doesn’t want Jess, or anyone else, to know about. Unless Rose passing this test would mean that what goes on in his office is what goes on in his office and Who-knows-who ain’t supposed to count for Who-knows-what. And that’s not okay with her, not about doing business. She knows that.
            So, why does she watch herself in the man’s bathroom mirror, tucking her blouse back into her skirt and stuffing her bra—of all things on this interview—into her purse, wondering, if this is what she has to do to qualify for this job, what would she have to do to hold on to it? She knows something about setting precedents.
            So, why—instead of heading back out to her car on the strip, or to his office with her bra still on (how would he know?)—does she return to his office, complicit with him now in her bralessness?
            Her blouse does not show her bralessness—it is not see-through or clingy—a sturdy rayon-cotton blend, short-sleeved, covered with an earth-tone jungle—but still, Fly-By says: “That’s better. I feel more comfortable with you already.”
            Now she’s as creepy as he is.

Tuesday, September 27, 2016

#220: "A Sudden Mass of Starlings" by Therése Halscheid

~This essay previously appeared in The Gettysburg Review (2013).

The first day it happened, it happened that I was walking over the iron truss bridge. It was surprising what took place. A sky full of birds. It was the beginning.
When it happened it was surprising. Walking as I was: slow, pensive. It was amazing because soon as I reached the bridge – a massive flock soared overhead. The birds wore small cheery voices. And I let many things occur in that moment. I let myself think this was for me. I allowed full entry into the mystery of their coming over my head like a sign. I saw many with their wings out and some with their wings clipped to their sides and thought no matter what the wings were doing, their flight was timed with my walking out of the old woods into the open. Like pointillism, the sky was a canvas and these birds were dabs of paint. Covering the blue in black. And this went on. It went on for a half an hour I would say. The birds dotting everything. Blurring by like brush strokes. It was dusk. They were heading east, to that yellow place where new days form.
The cottage is near the iron truss bridge. It is set in a copse of trees. I have been the care-taker for several months. It was originally built for a miller in the early-1800s. On one side, a meadow stretches to where the tallest oaks rim the grounds. It is said that in spring, over a thousand daffodils flower. But it is winter, so I have not yet witnessed the meadow in bloom. Beyond the majestic oaks is a path that leads to a footbridge, which extends over the mill race, then continues to the large rock formations angling down to the Wickecheoke Creek. The name means Big Water in Native language. Big Water has ever-shifting personalities. I spend hours observing its dramatic moods. When the rains come, the creek rises instantly over tiered rocks with such force it can fracture them. The waterfalls turn loud, like Niagara. Likewise, it mellows after a day or two of sun. Silt settles. The water turns clear. Then one can see the bottom stones. Either way – gushing or lazy – the creek is ever-moving, in an undetermined manner. It winds under the iron truss bridge then curves round in front of a mill house across the dirt road. This stone house was once a saw mill, built by early settlers, dating back to the 1730s.
When Night brought morning, Morning brought another round of light. A shiny color of sun. I woke to the sound of the flock over the cottage. Singing in high pitches there are no words for. I cannot spell the noise they make. They seemed to have come from the very horizon they flew to last evening. I questioned what made them choose this place. In the alcove – which is my bedroom – are two windows set close together above the bed, like portholes of a ship only they are square, made of float glass. Wooden sashes divide the panes. I undid an iron latch and parted the one. The birds were directly above. Sweeping low, stirring the air they breathed.
And later, I caught another flawless performance. The birds returned, signaling dusk. Not a single starling missing. They came riding the wind in V shapes and snake-like formations. When they left, they left me changed – standing in a state of awe on the grounds. The world turned silent after. Dusk settled in deepening layers. Day completed itself. Sky and ground became one entire color.
               And so it was, our paths crossed two times a day – dawn and dusk, the birds and I. They started to increase in numbers. Afternoons were filled with songbirds: the yellow finch that stabbed at the feeder, bluebirds, the vibrant red cardinals that played tag with their mates. While others circled in silence over Old Mill: an occasional crow, turkey vultures or hawks.

Saturday, September 24, 2016

#219: "Xirimiri" by Diana Friedman

~ This story was previously published in New Letters (2014).

Ramón del Solar Astigarraga is a pain in the ass. If I hang my sheets one millimeter over his window he shouts to the whole neighborhood that I am blocking his light. When I pulled up a strip of carpet, he accosted me in front of the newsstand: What the hell are you doing up there? I can’t breathe from all the dust you’re generating. This man has the disposition of a rotten onion, and the last person on earth I would like to be is his son.
Not long ago I had a dream and for once, it was a good dream; I stood knee deep in a clean and clear lagoon, with dolphins at my ankles, a monkey hugging my shoulder. Not far away was a waterfall—ice blue and beautiful. Elisabeth was there. I knew by the way she’d pulled her hair back, just a few wisps hanging about, that she cared what I thought, and the feeling was divine. I was out in the world in a real way, which is how I might like to live the rest of my life.
When I woke, though, I was not in the outer world, rather, deep inside it, flattened by a hangover on my mother’s squalid couch. Outside it was misting lightly, xirimiri, mislaid droplets too weak to find their way to earth. Elisabeth was not in my arms but exactly where I left her, the 5,000 miles of sea and soil between us not even a remote measure of how far apart we were.
And me?
Same old. Plenty lost, but nothing gained in all the years I’d been gone, least of all, any idea who my father was.

Monday, September 19, 2016

#218: "The Devil Wind" by Toni Mirosevich

~This essay was previously published in Fourth Genre (2014).

A chill settles on the empty crab boxes stacked around the storage room, a chill that doesn’t so much descend as rise up from the sea below the crab fishery, up through the planks of the pier on which the fishery stands, through the cement first floor where the crab tubs hold their incarcerated. A chill that climbs the wet stairs to the storage room door, doesn’t bother to knock, comes right in, carrying with it the smell of crab and diesel and brine, to find me here, where I sit, at a makeshift desk with pen in hand, the pad of paper before me turning to pulp in all this wetness, the page on top a damp, blank screen. 
Which stays empty. Why go to the small, tight window of the page when a bigger page beckons, a large picture window right above the desk that looks out on a harbor? Why sit when you can stand and watch crab boats ferry in and out, see them head to sea empty, riding high above the harbor’s surface with their barnacled keels showing, their pants hitched up high, then watch their return in the evening, the waddling procession after a heavy meal of cod or halibut or salmon, their belt lines well below the water. If I stand I can see the Lucy or the Intrepid or the Irene B pull up to the dock right outside, see the dock’s rusty crane swing out over a boat. The roped basket at the end of the cable’s hook swings down empty like an empty string bag you take to market, only to come up full to bursting with crabs, their red arms gesturing this way and that, with so much to say.
Out past the breakwater, at the horizon, a straight blue line of sea bisects the white sky’s blank sheet. Waves scribble their cursive below the line, filling up that page. A reminder. I am supposed to be writing, working, yet have no precedent for this type of work. There’s nothing in my DNA. This isn’t the work of my father, the life-and-death life of a fishing boat captain on the wicked Bering Sea. Nor the work of my mother, her youth spent standing on her feet all day, packing tuna, before child labor laws gave the cannery owners a conscience.
People ask how I found this place. I tell them I walked out onto the pier one day and simply asked the owner of the fishery, a man named Steve, if there was any place around here where I could write. See, I told him. I grew up around boats. The smell of brine is perfume to me. The smell of twine, of diesel, perfume! I know how to lay it on thick, how to bullshit, having learned this on the docks when I was young. I know how to swear, how to say you motherfucking piece of shit with conviction.
I told Steve I had this half-baked theory: if I were near the sea again, on a dock again, maybe I’d be able to tap into that salty vein of memory, could recall tales I heard listening to the fishermen on the docks. What if, like them, you awoke each morning and looked forward to the day’s prospects, the shining possibilities of luck and work and weather? What if you could look forward to the adventure, no matter the consequences, threw caution to the wind; believed there would be wind? And all you needed to succeed? A boat. You needed a boat.
            But now that I’ve gained the perch? How to get past the window in front of me. How to get from this chair onto that sea. How to get to that life from this life. That’s the dilemma.