2019 Tillie Olsen Short Story Award Final Judge

The Tishman Review is pleased to announce Valerie Fioravanti as the final judge of the 2019 Tillie Olsen Short Story Award. Fioravanti won the inaugural TOSSA contest as judged by the esteemed author Alice Mattison.

Valerie Fioravanti is the author of the linked collection of Brooklyn stories Garbage Night at the Opera from BkMk Press, which won the Chandra Prize for Short Fiction. Her fiction and creative nonfiction have appeared in many literary journals, including North American Review, Cimarron Review, and Hunger Mountain. Her work has received eight Pushcart Prize nominations and a Fulbright Fellowship to Italy. A New York City native, she lives in Sacramento, where she teaches workshops and coaches writers privately. Tillie Olsen is one of her favorite writers.

Valerie Fioravanti
Valerie Fioravanti

Tillie Olsen’s iconic story “I Stand Here Ironing” ends with, “So all that is in her will not bloom, but in how many does it? There is still enough left to live by. Only help her to know—help make it so there is cause for her to know—that she is more than this dress on the ironing board, helpless before the iron.” There are moments when we all feel helpless before the iron—and whether that state is transitory, entrenched, or epiphanic—it’s rich storytelling soil. Let go of social media’s rosy gloss and reveal the complexity of imperfect, workaday circumstances. Show me the beauty in faded blooms or the gentle moments that grace hardscrabble lives. ~Valerie Fioravanti

Meet our 2019 Pushcart Prize Nominees

It’s that time of year again — time to announce our nominees for the annual Pushcart Prize. Our announcement is coming a bit late this year, as the dust is still settling on our website renovation. However, we are thrilled to have a clean, elegant new space to showcase our artists and their incredible work.

Each year, our contributors astonish us with writing we just want to share with everyone we meet. This past publication year was no exception. Keep reading to meet our Pushcart Prize nominees!

“An Altar of Skins” by Jeremy Schnotala

Schnotala_JeremyJeremy Schnotala has an MFA in creative writing from Western Michigan University. He lives with his husband in Grand Rapids, MI where he has taught English and creative writing and directed theater in the public schools for twenty-five years. He was shortlisted last year for contests at Writers@Work, Woven Tale Press, New Rivers Press, and The Masters Review, and recently won the Saints and Sinners 2018 Literary Festival fiction contest and The Tishman Review 2018 Tillie Olsen Short Story Award. Other recent work can be seen in Temenos Literary Journal, Beecher’s Magazine, Chagrin River Review, SHANTIH Journal, and others. He has forthcoming work in New Rivers Press and New Ohio Review. More information at schnotala.com.

Elsewhere On the Internet

“Frostbite” by Melanie Pierce

Pierce_MelanieMelanie Pierce recently graduated with an MFA in Creative Writing at Stony Brook University, where she taught undergraduate creative writing and was Assistant Editor for TSR: The Southampton Review. Her fiction has appeared in The Tishman Review, The Southampton Review, and Newtown Literary, and she has been a resident at the Kimmel Harding Nelson Center for the Arts. After stints living in Taiwan and New York City, she relocated to Kansas City. She is at work on a novel.

Elsewhere On the Internet

“Sing” by Eric Maroney

Maroney_EricEric Maroney is the author of two books of non-fiction, Religious Syncretism (2006), Canterbury Press and The Other Zions (2010), Roman & Littlefield. His mixed genre book, The Torah Sutras, Andalus Books, will be published in 2019. His short fiction has appeared in over twenty literary journals and publications. He is a regular fiction and non-fiction reviewer for Colorado Review. He works at Cornell University, and lives in the hills outside of Ithaca, New York, with his wife and two children.

Elsewhere On the Internet

“Superior” by David Nelson

Nelson_DavidCurrently, David works as a project manager for an e-learning company in Evanston, Illinois, where he completed his masters in journalism at Northwestern University. In 2013, his report on the ongoing identification process for war victims of the Balkans conflict was published by the Institute for War and Peace Reporting (IWPR) and continues to be used as an educational resource by the International Commission on Missing Persons. He is also at work pitching a novel about a 1970s street gang, as well as researching a true crime book about the victims of John Wayne Gacy.

Elsewhere On the Internet

  • Tusk” | Rappahannock Review

“My abuelita who never smiled and only made me SpahettiOs” by Elizabeth Gonzalez James

James_ElizabethBefore becoming a writer Elizabeth was a waitress, a pollster, an Avon lady, and an opera singer. She lives with her family in Oakland, California, and she is currently writing her second novel, a magical realism western about her great-grandfather. You can read more at http://www.elizabethgonzalezjames.com, or on Twitter @unefemmejames.

 

Elsewhere On the Internet

“Translation” by Allison Darcy

Darcy_AllisonAllison Darcy is currently an MFA Fiction candidate at North Carolina State University. She is grateful to have stories, essays, and poems in such publications as Jewish Currents, Nat. Brut, and Poetica Magazine. She holds an MA in Religion from Duke University, where she focused on lived Jewish practice at the intersections of race, gender, and secularity. In her non-writing time, Allison works with Jewish youth, plays endless rounds of fetch with her new puppy Freyja, and goes to circus school.

Elsewhere On the Internet

About


Tishman_book_reviews_womanreadingMission Statement:

  • We believe in supporting the creative endeavors of the writers of the world.
  • We believe literature serves an existential function and its value to humanity is beyond measure. Therefore, we will always remain open to the possibility that an individual work may take us beyond the boundaries known today.
  • We will strive to honor each writer and the work they share with us.
  • We at The Tishman Review seek to publish work that reflects these values, offers new insights into the human condition, finds beauty in the garish, and that when we read it, we want to read it again and again. We want to fold an issue closed and find ourselves richer for knowing the words contained within.
  • Our journal is published on the 30th of April and October of each year.

Current Issue

JULY2018

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ISBN-13: 978-1723019463
ISBN-10: 1723019461

A print copy of the July 2018 issue of The Tishman Review will only be available for sale until April 29, 2019.

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ESVM Contest Update:

Submissions are CLOSED for our 2019 Edna St. Vincent Millay Poetry Prize with FINAL JUDGE, the illustrious TJ JARRETT.


ABOUT OUR FINAL JUDGE:TJJARRETT
TJ Jarrett received a BA from Wellesley College and an MFA from Bennington Writing Seminars. She is the author of Zion (Southern Illinois University Press, 2014), winner of the Crab Orchard Open Competition, and Ain’t No Grave (New Issues Press, 2013). She works in software development and lives in Nashville, Tennessee.

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The Tishman Review (TTR) welcomes submissions of fiction, poetry, and creative nonfiction as follows:

Submissions for the April 2019 issue:
June 1 – July 31, 2018, and Oct 30, 2018 – Feb 15, 2019.

Submissions for the October 2019 issue:
April 30, 2019 – Aug 15th, 2019.

General Submission Guidelines

  • Your manuscript and filename must not have any identifying information on it nor a cover letter attached within the file.
  • Please only include a cover letter in the Comments Section area on Submittable. In the cover letter please provide the title(s) and the corresponding page numbers (for poetry). We will request a bio upon acceptance.
  • Our co-founding editors are committed to producing a journal that reflects the diversity of humanity. Please feel free to share your gender/race/ethnicity/socioeconomic background to assist us in this task. The cover letter will be viewed only by the co-founding editors and only in the last phase of the consideration process.
  • Simultaneous submissions are allowed but you must withdraw the work immediately if accepted elsewhere.
  • Submissions must be previously unpublished, original works.
  • We are not looking for any gratuitous violence or sex or any work that is misogynistic, racist, or homophobic.
  • Please send only one submission at a time, but you are free to submit again after you have received a response from us.
  • Prose submissions must be double-spaced, paginated, and in standard manuscript format. Please use only one space after a period.
  • We do our best to respond to each submission within 90 days. If it has been longer than 100 days, please send an inquiry to us at: thetishmanreview@gmail.com.
  • Please allow 9 months after publication in TTR to submit poetry or prose again.
  • During every reading period, we offer FEE FREE regular submissions. We announce these days a few days prior via social media. Follow us on Twitter @TishmanReview.

Poetry

Please send at least three (3) poems and up to four (4) poems, with each new poem beginning on a fresh page, in a single computer file. We prefer the concrete over the abstract.

Fiction

We are open to the possibilities an author may present and are not expecting a particular kind of story. With that in mind, please submit your very best work, the work you are most proud of, the work that best represents your voice in the world. For more on what we are looking for: click here. 

Micro-fiction:  up to 300 words. You may include up to 3 pieces of micro-fiction in one submission.
Flash fiction:   up to 1,000 words.
Short Story:     up to 8,000 words.

Creative Non-Fiction

We are looking for personal essays, memoir, lyric essays and literary journalism up to 5,000 words.

Art

We are always on the lookout for those interesting pieces you came up with late one night, or the photos you took because you couldn’t stop looking at something with all its crazy curves and textures.  We’ll consider all mediums – photos, paintings, pencil drawings, pen and ink, charcoal – as well as cartoons. Submissions must be adaptable to accommodate the space – so please send us your work in a minimum of 300 dpi. If submitting for interior art, we are primarily interested in black and white images. You can submit pieces in color for the interior, but they must translate well into a black and white format. Send up to 8 images in one submission.

Please remember that we are a small non-profit, all-volunteer literary journal. We pay $75 for cover art and $10 for each piece published in the interior of the magazine. We also archive our issues, including making the pod and e-book available in the future.

General Submission Information

  • The Tishman Review pays all of our text contributors according to the genre.
  • Poems are paid on a sliding scale between $10 and $25 per poem.
  • Creative nonfiction and fiction is paid a minimum of $10 for a piece under 1000 words and for a piece over 1000 words at .01 cents per word. While we realize this is a small payment, our hope is (with continued support and growth) to be able to increase the amount we pay.
  • Contributors receive one complimentary print copy if mailed to a U.S. address and an annual e-book subscription to TTR.
  • Contributors can order print copies sent to one U.S. address at our cost. International contributors may request a quote for print copies at our cost that are shipped to one address.
  • Contributors are welcome to run a complimentary advertisement in one issue of their latest book publication.
  • We buy First Electronic Publication Rights, Non-exclusive print-on-demand rights to the work in the issue the work first appears in, and Archival rights only in the form the work first appears in The Tishman Review, with the copyright reverting back to the author upon publication.
  • We do not buy the right to publish the work in an anthology or a different issue. We reserve the right to keep any work we publish.
  • Should a piece first published in The Tishman Review be reprinted in another work, we request the later publication include an acknowledgment of The Tishman Review.

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Meet Our Best Small Fictions Nominees

We at The Tishman Review are pleased to announce our nominees for the 2019 Best Small Fictions anthology. We are so proud of all our contributors. Keep reading to meet this year’s nominees!

“A Sentinel in the Plains” by Jackie Aleksandrovich |TTR 4.3

JackieAlexanderYannJackie Aleksandrovich lives, writes, and will likely die out in the Northwest. A handful of their work has been published in Thin Air Magazine, OROBORO, and Foglifter Journal.




What is the best piece of writing advice you have received?

The writing advice I’ve found to be most useful is just write, write often. Write as often as you think you possibly can, even the most minute and fleeting thought, see to it that it’s written. Write even if what you think you’re writing is garbage. Just keep writing. You’ll get better.

ELSEWHERE ON THE INTERNET


“Warp and Weft by Deborah Elderhorst | TTR 4.2

DeborahElderhorst

Deborah Elderhorst is an Australian-Canadian writer of literary fiction and creative nonfiction. Her work has appeared in the anthology Trace (Clover Press-Visible Ink, Australia) and in the New Zealand journal Phantom Billstickers Café Reader. She was a finalist in the Writers’ Union of Canada 25th Annual Short Prose Competition for Emerging Writers and received an honorable mention in the 44th New Millennium Writing Awards. Deborah lives in Toronto, where she works as an editor.

What do you do to overcome writer’s block?

Crossing over from fiction into hybrid forms of nonfiction—lyrical essays, prose poems, visual essays—afforded me a creative jolt when I felt stuck on a project. In granting myself permission to experiment with forms that were new to me, I recovered that sense of playfulness and excitement about writing that often yields the best and most surprising results. I felt like an alchemist. Far from turning me away from fiction permanently, this gave me new energy for my stalled project.

ELSEWHERE ON THE INTERNET


“In My Pocket” by Seth D. Slater | TTR 4.1

Seth_Slater

Seth D. Slater has contributed to the Chicago Quarterly ReviewNew Madrid: Journal of Contemporary LiteratureMetonymLe Scat Noir, and The Tishman Review. Slater was a recent AWP finalist for best novel excerpt and teaches Writing and Rhetoric at San Diego State University.


What does your writing process look like?

There’s nothing like forward motion. I pace or drive my stories into existence, the spirit translating asphalt miles or circled-steps into motion outside myself. After I get the gist, after I tread a cerebral rut that feels out my trajectory of thought, I sit down at my desk and drink heavily-sugared coffee (because I don’t have enough cavities) and I blast music that hand-holds my current tempo of thought.


“And We Who Never Died” by Desmond White |TTR 4.2

Desmond_WhiteDesmond White’s satire and speculative fiction has appeared in HeartWoodGhost ParachuteWhatever Our SoulsRue ScribeInk & VoicesKasmaThe Tishman Review, and others. His piece “House Divided” was recently featured in Z Publishing’s America’s Emerging Writers. A native of California, Des has lived in Indonesia, Venezuela, China, and the “independent Republic” of Texas. He has an MLA from Houston Baptist University, where he founded the student magazine Writ in Water. These days he teaches high school in Colorado and runs a flash-fiction-focused website called Rune Bear. See more at www.desmondwrite.com or @desmondwrite.

Where or what time of day do you write best?

Famously, Ernest Hemingway wrote in the morning from “first light” to noon. For those of us who work the 9 to 5 (as a teacher, 7 to 3), Hemingway might not inspire so much as demotivate. Coming home from a day’s work, with kids and cats and bills, and the brain completely oatmeal—who has the time for anything?

Instead, I draw inspiration from Terry Pratchett, who dreamed of story at work, and wrote four hundred words at home. Every day. Until he finished his novel. So where or when do I find the time? Wherever. Whenever. But I write every day, hopefully at my dining room table, but sometimes on a notepad in a faculty meeting, or right before the first bell.

ELSEWHERE ON THE INTERNET


“Poison Damsels in Rajaji’s Harem, 1673” by Tara Isabel Zambrano | TTR 4.1

IMG_3465

Tara Isabel Zambrano works as a semiconductor chip designer in a startup. Her work has been published in Tin House Online, The Southampton Review, Slice, Bat City Review, Yemassee, and others. She is Assistant Flash Fiction Editor at Newfound.org and reads prose for The Common. Tara moved from India to the United States two decades ago and holds an instrument rating for single engine aircraft. She lives in Texas.

 

What is the best piece of writing advice you have received? 

Write naked. That means to write what you would never say.

Write in blood. As if ink is so precious you can’t waste it.

Write in exile, as if you are never going to get home again, and you have to call back every detail.

—Denis Johnson’s “Three Rules To Write By”

ELSEWHERE ON THE INTERNET


We wish the best of luck to each of these writers!

Tips to Help Your Short Story Succeed at TTR

Tips to help you succeed with your short story at TTR:
1. If a story has been declined without a request for revision, please do not send it again, even if it has been a number of years. Submittable has a button to click on that pulls up, in seconds, all of the submissions by any one author. Inevitably, one of us remembers the story.
2. We are currently not interested in stories that focus on the POV of a male who is afflicted with toxic masculinity. We’re not interested in spending time inside this type of person’s head. However, a story in which toxic males are present and there is pushback against this attitude and behavior will be considered. A fine example of this is the 2018 winner of the Tillie Olsen Short Story Award, which you can read on our website.
3. We are not interested in stories that are not cognizant of language when referencing American Indians and are not truly authentic to their experiences. Comparing American Indians to animals (even if trying to elucidate the government’s racist policies), writing about their spiritual or religious beliefs or cultural practices when you have only researched this from afar, writing in their POV and when the character becomes violent saying something like it is their “Indian blood” coming out, and so forth, are big no-no’s at TTR. Some stories told by American Indians are considered sacred to them and not to be shared outside the tribe. If you are non-indigenous and have worked hard to be authentic (and not just by reading books written by white people) and have vetted your story with a number of important people within the tribe you are writing about (if you are writing about the tribe’s cultural and spiritual practices and beliefs), please feel free to send it.
4. See number two but insert a racist or homophobic POV.
5. Please do not send angry, defiant, defensive, demeaning, rude cover letters. If you don’t like our submission guidelines or our hard work to be inclusive to all peoples, send your story somewhere else.
6. We won’t publish you story if there is objectification of women within it. This is when the story focuses on women’s physical attractiveness and describes women according to how a male judges their body and appearance. Sometimes these narratives will compare women to animals. In these stories, often the male characters are then described according to their character and personality traits but not their physical appearance. Sometimes the main character is not the stereotypical toxic male, but this objectification sneaks into the narrative. See number two about toxic masculinity and the need for pushback against this.
7. Sometimes we still see stories where the characters are stereotypes. Don’t send those.
8. Make sure your main character has a problem or dilemma they need to try and resolve in the story. This makes your story interesting and engaging. We aren’t interested in pieces that are just descriptions of someone’s life. The short story is an art form and all readers expect writers to honor this form, no matter how experimental the work, no matter how young the reader or modern the reader or old the reader. The number one complaint amongst readers from all walks of life that have been staff at TTR is lack of narrative arc. Make sure the character’s problem becomes apparent to some degree by page 2. This is called “tension.” A narrative arc is what makes a piece, a short story. How this is done is open to an enormous amount of leeway. Read William Maxwell’s short story “The Thistles in Sweden” which is seemingly about nothing, but is in fact, a short story.
9. If you send us fantasy, science fiction, or historical fiction, please make sure the story is focused on character development rather than plot. For historical fiction, please be cognizant of language.
10. Do not front load your story with exposition and backstory. Start your story as soon as possible to when the tension (see above) enters the character’s life.
11. The stories we publish at TTR have what we consider to be substance. Substance makes us respond either emotionally or intellectually or both. Substance has weight, even in humor.
12. Be careful not to send us stories that are for children. We get a surprising number of good stories that are suited to children and teenagers and not adults. The focus in the story is only on what children concern themselves with. While important to children or teenagers, the concerns are boring to adults. This is a tricky balance. But see “The Gun Rack” by WA Polf in TTR October 2016 and “The Cigarette Thieves” by Renee Macalino Rutledge in TTR April 2017 for examples of a main character that is a child, but the story appeals to adult readers. Also, Flannery O’Connor’s “The Lame Shall Enter First” and Edward P. Jones’s short stories often have juvenile characters but are written for adults. Maybe one way to analyze this is to think about how shallow the story is; the more shallow the less likey to engage an adult.
13. Did we say character, character, character? Fleshy and whole. Alive on the page.
14. We do care about language usage at the sentence-level. Prose that appears wrought with the need for line edits will be declined. Numerous typos and grammatical errors are off-putting.
15. Finally, make sure your story knows what it is about. Is it a victim of thematic hoarding? Our heads are spinning. Does it need a spring cleaning? Too much clutter with plot lines, characters, themes, makes for a messy story that still reads as if it doesn’t know why it exists yet. Take the time to find out. The shorter the story, the tighter the focus.
16. These recommendations are very specific to TTR. There are lots of journals publishing fabulous stories and they may or may not disagree with us entirely or in certain areas. This makes for a thriving, committed, and passionate literary world. Seek out the publishers and editors who will appreciate your stories.

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