Submissions in 2019 and beyond…

Writers, mark your calendars — our next submissions period will run from January 1 to January 31, 2019.

During the month of January, we will be accepting submissions of book-length fiction and nonfiction on the themes of the environment, animal protection, ecology, and wildlife — as always, we’re looking for exceptional, well-written, engaging stories.

In the new year, we are asking that writers who submit book-length manuscripts also support the press (and learn more about us!) by purchasing a book at the time they submit. All books will be $20. For U.S.-based writers, this includes free shipping and your manuscript submission; international writers will receive e-books with their manuscript submissions.

As many of you already know, our submission times and policies have evolved over the years. When we founded Ashland Creek Press in 2011, we had the luxury of keeping submissions open all year as writers began to discover us. In 2014, we started the Siskiyou Prize for New Environmental Literature and began offering two submissions periods for book-length manuscripts — one for prize entries, and one for regular submissions. We also have several open submissions periods for shorter works, which have filled our anthologies Among Animals, Among Animals 2, and Writing for Animals.

As the years have passed, we’ve found ourselves overwhelmed (in a good way!) with increasingly higher numbers of submissions during each reading period, far more than we can ever publish — and sometimes far more than we can manage to read in a timely manner. Now, as we enter our eighth year of publishing, we have decided to shorten our regular book submission period as well as ask writers to purchase a book — and we do this for several reasons.

For one, we hope that a shorter submission period will allow us to read and respond to writers more quickly (as writers ourselves, we understand that the time spent waiting to hear about a submission can feel interminable!). And also as writers, we understand the importance not only of supporting other small presses but of submitting in a knowledgable way, i.e., learning as much about a publisher and its work as possible before making the decision to enter into what will become a very close and longtime relationship as author and publisher.

For us, Ashland Creek Press has always been a labor of love — and we mean this quite literally! No matter how successful the press has been in any given year, we have never paid ourselves a dime. All money received by Ashland Creek Press goes to author royalties; toward judges’ fees or writers’ prize money; into promotion and events to support our authors, whether for newly launched books or backlist titles; and to the Ashland Creek Press Foundation, which supports animal and environmental organizations that share our mission of making the planet a better place for the future.

We very much look forward to reading your new environmental writing in January, and we thank you in advance for your support. We couldn’t do this without you as writers, readers, and advocates for animals and the planet.

You’ll find our more information on our submissions page; please note that Submittable will not be open until January 1, 2019.

Many thanks, and we wish you a very happy new year!

Ashland Creek Press logo

Penguins & Patagonia Adventure: Author talks at Rincón Chico

On the afternoon we arrived at the gorgeous Estancia Rincón Chico on Península Valdés, it was pouring rain, windy, and cold.

So, we decided to have our author talks and book signing that afternoon, with the timing just perfect for cocktail hour.

It was beyond wonderful to talk about My Last Continent with readers who were seeing firsthand parts of what inspired the novel: volunteering at Punta Tombo, learning so much from experienced penguin researchers, being out in the middle of nowhere with no human sounds other than the wind and the braying of the penguins. I read a few excerpts from the book — one scene set in Punta Tombo, which we’d visited the day before, and one scene set in Antarctica, where half of our group would be headed in a few more days.

And John‘s novel The Tourist Trail was even more fun to talk about, as it’s just been released in a new edition, with the sequel on its way into the world in February of 2019. Also, in The Tourist Trail, Punta Tombo features even more prominently than in My Last Continent, so readers got an even better idea of the colony from reading his novel. John read an excerpt from the book that actually retraced our own steps from the day before.

We enjoyed a fantastic Argentine Malbec as we chatted about the novels and signed books…

…and we had so much fun we forgot all about the wind and rain.

To see more of Susan’s terrific photos, visit the Facebook page of Adventures by the Book!

Penguins & Patagonia Adventure: Next stop, Puerto Madryn

After a couple of sunny days in Buenos Aires, the next stop on our Penguins & Patagonia Adventure was the much cooler, windswept oceanside city of Puerto Madryn in Patagonia. The amazing two days we spent here were arranged by Carol Mackie de Passera of Causana Viajes (indeed all the Argentinian details of the trip were arranged by Carol, but our visit to Puerto Madryn was specially and thoughtfully curated by Carol to fit our literary theme). Also a naturalist and guide — whom John and I met 12 years earlier for a few days of excursions after volunteering at Punta Tombo — Carol arranged for a tour of the local history museum, Museo del Desembarco, followed by a traditional Welsh tea with Argentinian authors in the beautiful historical building of the Welsh Association.

We (pictured below, from left: Marcelo Gavirati, Silvia Iglesias, and Carlos Dante Ferrari — plus me, John, and Susan) had a wonderful chat about writing, culture, travel, and the fascinating Welsh history of Patagonia (the Welsh arrived in Puerto Madryn in the 1860s) and its thriving community here, all as we devoured scones, bread, pastries, and tea.

Carlos Dante Ferrari is the author of eight books, including one translated into English, The Patagonian Rifleman.

Marcelo Gavirati is a professor and has published many books and articles on the history of Patagonia, including this article in True West Magazine, which focuses on Butch Cassidy and the Sundance Kid’s arrival in Argentina.

Silvia Iglesiasis a journalist, teacher, poet, and novelist. She has published two books of poetry — Perfect Bodiesand Strange Bodies —  and a novel, Yaoyin.

This next photo features our entire group as well as association staff, all of whom were wonderful and so much fun to spend the afternoon with.

Thanks to Susan for the terrific photos, many more of which can be found on the Adventures by the Book Facebook page.

Q&A with WRITING FOR ANIMALS contributor Alex Lockwood

Alex Lockwood’s article “With a Hope to Change Things: An Exploration of the Craft of Writing about Animals with the Founders of Zoomorphic Magazine” appears in Writing for Animals.

Q: In what ways has your writing changed as your knowledge and awareness of animals has evolved?

A: Most fundamentally, I have chosen (as far as a writer can) to only take on new projects that foreground the nonhuman and their relations with humans, as much as possible to work towards texts, narratives, and stories that help bring our relationships to light, and to contribute towards a more equal and just sharing of this world across species. Although sometimes as writers we don’t know quite what compels us to write the next story or book or poem, there are conscious decisions we can make responding to the state of the world, and the disastrous state of our hierarchical and dominant current relations with nonhumans. As I come to know more about animals and the nonhuman world, the more I recognize my spiritual and practical responsibilities to attempt to redress through my practice the worst forms of these exploitative relations and hopefully envision new and more equal, kind, and loving relationships.

In particular, I have spent a lot more time working in the second person, and writing works that give serious credence to the voices and agencies of nonhuman others, to the existing and complicated relations between beings across species (in cross-species encounter) and the truly relational nature of who we are, in that without these relations we do not know ourselves and, when you get down to the biota level, we wouldn’t even be alive.

Q: What is the most important thing you feel writers should keep in mind as they write about animals?

A: Compassion. Do not repeat or reinforce dominant speciesist practices in your writing. Question why it is okay to depict or represent particular animals in particular ways. Enrich your writing through learning in the three Es — ethology, ecofeminism, ecocriticism — to continue to forge new visions for ways of interrelating based on kinship and not dominance. Change your own name to that of an animal’s and see where that takes you. Don’t get bogged down by questions of whether or not animals can be fully represented in human language, because your audience is human, generally. But do nurture an understanding of nonrepresentational theories, politics, and practices that shift you and your ego out of the way. If you’re a white, Western male, as I am, do everything that you can to mobilize your white, Western, male privileges and give your writing over to the practice of centering the lives and leadership and needs of all previously marginalised groups, human and nonhuman.

Q: Which authors/books do you feel do a good job of realistically and compassionately portraying the lives of animals?

A: Donna Haraway’s Camille stories are must-reads for how we are now thinking about our multi-species encounters. Cynan Jones has done plenty of good work around animals and viscerality. The animal poet Susan Richardson, whom I interviewed for my chapter, is an incredible writer, perhaps one of the leading animal poets of our day, following in and beyond the footsteps of Les Murray. Sara Baume, Melissa Harrison, Robin Lamont, pattrice jones, Barbara King, Carol J. Adams, Ceridwen Dovey, Lydia Millet are all women working in different genres and forms to respectfully and compassionately help us reach the lives of animals.

Q: Your Q&A with the editors of Zoomorphic magazine highlights the role of literature in a changing world. What other media do you recommend for those who care about animals and wish to write about them with authenticity and compassion?

A: Literature remains for me the art form that can transform our relationship with the world most fully, but of course many would suggest film is the same or better at doing so, and films such as Okja have had a recent huge impact on the ways in which people have changed their relations to animals. Short films and exposes such as Dominion and Land of Hope and Glory have recently, from the documentary perspective, really changed people’s visions of how to relate in cross-species encounters and spaces. I think children’s books are vitally important in beginning that journey of love and compassion, or exploitation and abuse, depending on the forms in which they are written and the ways in which parents and teachers communicate them, and of course how writers write them, so I cannot recommend people such as Ruby Roth enough.

Alex Lockwood is the author of The Pig in Thin Air (Lantern Books), an exploration of the place of the body in animal advocacy, as well as senior lecturer in journalism at the Centre for Research in Media and Cultural Studies, Sunderland University, UK. He has published widely on human-animal relations and is currently working on a series of novels concerned with human-animal conflict.

Q&A with WRITING FOR ANIMALS contributor Hunter Liguore

Hunter Ligoure’s essay “Writing Animals Where You Are” appears in Writing for Animals.

Q: In what ways has your writing changed as your knowledge and awareness of animals has evolved?

A: Compassion. With knowledge comes the awareness that there is no separation between animals and humans, nor is there a hierarchy of animals that are more important, or are more deserving of our love and compassion. (E.g., many are saddened by the loss of a pet, but not the loss of a squirrel or housefly). If we’re still long enough, we can recognize our sameness — the need for food, water, shelter, love, play, rest, and harmony, rather than suffering. Animals and humans want these things equally, and through awareness, not only in my writing, but in my way of life, I’m creating a world that realizes these actions as integral opportunities, available to be carried in every moment, everywhere. There isn’t a separate time for animals; our relationship is a seamless day.

 

Q: What is the most important thing you feel writers should keep in mind as they write about animals?

A: Change the image of “watching” animals to “participating with” animals. When we watch, we’re actively creating a separation. We’re partners, living and wanting those same necessities I mentioned above. When we participate, we will go from being a false, stagnant observer, to a constant participant that is nurturing the world to ensure safety, love, compassion, food/water, play, shelter, for all animals. It will carry into the writing — it will foster a generation of environmental/nature writing aimed at solutions and actions, as opposed to despair, because the writer is now active and participating, too.

I would encourage writers to relearning perceptions and old mindsets created by the mass-mind … we all have them, a teaching or experience we cling to that causes a habitual reaction rather than a conscious action. I’ve had close encounters with bears and skunks — close, as in a handful of feet — where the very initial reaction is one of purity and presentness, not fear. The moment is often confounded with the mass-mind, the experiences of others. So while I’m not advocating petting a bear, I’m suggesting to acknowledge and consider how much one’s perception is based on habit, reaction/response, rather than being in the moment. Nature/animals allow us to be “here” and “present,” to fully experience life with them, not apart from them. It’s the same when you’re outside and feel a mosquito digging into your skin — the mass-response is to kill and swat, rather than gently disengage. Ticks, too. Houseflies … Who taught you to kill as the first response? My family taught me to eat animals, and I unlearned it. How could I spend years as an “animal advocate” and eat animals? But the mass-mind said that it was okay because some animals need preservation; others don’t. I unlearn the old responses every day by being open to the animals here and now and loving them equally — if fear arises, I ask why. There is nothing more beautiful than the pink nose of a skunk, who will not spray if you’re attentive and compassionate enough to allow it.

Focus on where you are writing right now. The office plant, the spider in the bathroom at the restaurant, the windowsill bird feeder, the parks that can use all your love to keep the litter at bay, to promote habitats. Cemeteries are open to visit and have a plethora of wildlife; walk your neighborhoods and cultivate a reciprocal relationship right now with whatever animal is there — the spider, gnat, birds, rabbits … when you do, the whole world opens and harmony floods in.

 

Q: Which authors/books do you feel do a good job of realistically and compassionately portraying the lives of animals?

A: It’s very important where our mind rests all day. If it rests on a terrible, hopeless future, then collectively, we’re creating that day tomorrow. When we send out books, social media posts, videos that show despair, terror, violence, and so on, done to animals and the environment, then we’re triggering helplessness in the viewer, and restricting the possibility of the future that we do want to share together. How, as authors, can we offer a conversation that allows participation, not terror?

Books that offer a view out the window of harmony, which is here right now for us, are the ones I’m most interested in. Show us that our small effort matters; show us what change is occurring, so that we will be inspired to believe in ourselves and in creating a harmonious world. Two that come to mind are:

1. A Plea for the Animals: The Moral, Philosophical, and Evolutionary Imperative to Treat All Beings with Compassion by Matthieu Ricard

Ricard shows us that the world is changing for animal, and he rallies us to get on board. In his book we see meat factories closing; he calls us to be responsible for our daily actions, and we want to join in, since we’re given permission to be accountable, and let go of our old habits.

2. Ecotopia 2121: A Vision for Our Future Green Utopia in 100 Cities by Alan Marshall

A book, mostly in pictures, that offers a view of the future that is harmonious, hopeful, and green; Marshall shows us that we can be active today to create these cities now. Like the concept behind the butterfly affect — that one housefly you catch and release can make a difference; or the mosquitoes you deter with garlic, over an electric zapper; or that night garden you cultivate for moths — all those things matter and add up to a harmonious world.

Q: Your essay points out that all animals, not only exotic ones, deserve our attention. What “ordinary” animal is most important to you?

A: My day begins with animals and ends with them, and no “one” animal could be separated as being more important. They come seasonally, so at times, I become aware that certain animals will show themselves more than others. For instance, fireflies have appeared at night, and with that comes a sense of awareness that “the whole” has extended another ripple of harmony to allow this to happen. Blackberries have finally come freely, allowed to be welcomed, and now create natural food for wildlife. A mother deer came with two spotted fawns — again, it says there is support for her to do so. Three hundred grackles have descended, with their fledglings, having felt the ripple to come and be part of the harmony. I live in an urban area, sandwiched within supermarkets, houses, and busy roads, and yet it is absolute paradise here for thousands of birds and animals, right down to the smallest of small. We’re in a constant, seamless interaction, and the most “important” thing is supporting harmony, and the opportunities to heighten our reciprocal relationship with the whole. When that happens, the discord that others believe in cannot exist — those busy roads and the paved, hard cities become part of the whole and harmony, no longer the enemy but part of the cohesion.

 

Hunter Liguore’s life motto is “respect for differences.” Her writing seeks to create a dialogue that promotes understanding our shared humanity as an alternative to discrimination and hate. She holds degrees in history and writing, and she teaches writing in New England. An award-winning writer, her work has appeared in over a hundred publications internationally, including Spirituality & Health, Orion, Great Plains Quarterly, and Anthropology & Humanism. She has several screenplays optioned, including Everylife, which is currently in pre-production. Her eco-fiction teen novel, Silent Winter, is forthcoming and already being compared to The Handmaid’s Tale. www.hunterliguore.org