In the next issue of Stone Telling, we’d really like to run a review of In Other Words, a charity poetry anthology whose proceeds go to Con or Bust. We’ve got a review copy, we just need the reviewer!
The anthology is edited by Saira Ali and Julia Rios, and features poetry by Sofia Samatar, Shweta Narayan, Nisi Shawl, Tom Green, Rahul Karnakia, Ken Liu, Lisa Bradley, JT Stewart, John Chu, Sabrina Vourvoulias, Amal El-Mohtar, Yoon Ha Lee, LaShawn Wanak, Kiini Ibura Salaam, David Findlay, and Emily Jiang.
Both editors are POC, all poets are POC, and all proceeds go towards getting POC to conventions.
We’re looking for a reviewer of colour. If you’re interested, ping us at email@example.com, include “review query” in the topic, and tell us a little about yourself. You don’t have to have reviewed poetry before, but you do need to have read some. We pay $15 for reviews and other articles.
(and Kindle Paperwhite = $99 today)
on amazon, that is - $20 off for both
THE SEA IS OURS is an anthology of Southeast Asian steampunk. We are looking for steampunk stories that are set in Southeast Asia (SEA), or secondary worlds that evoke Southeast Asia, with Southeast Asian protagonists, in any of the countries that make up the region: Brunei Darussalam, Cambodia, East Timor, Indonesia, Laos, Malaysia, Myanmar, Papua New Guinea, the Philippines, Singapore, Thailand, and Vietnam. We are seeking historically and technologically-innovative stories.
Steampunk, for the purposes of this anthology, is defined as an aesthetic that combines technofantasy, anachronism, retro-futurism, an alternate history/world, and the evocation of an incipient industrial revolution. How does the steampunk aesthetic look, feel, sound, smell, or taste like in these regions? What kind of technologies would grow in resource-rich SEAsia? What do our historical figures, our Parameswaras, Trung sisters, Lapu-Lapus, do in such a world?
Submissions are encouraged to explore various levels and kinds of technologies, not just steam technology. Locals myths can also find their way into these stories; what does the mix of technology and fantasy look like in such worlds? We welcome exploration of all kinds of stories: from the extraordinary to the everyday. What changes does accelerated technology create for the local landscape and societies? If historical events are given a steampunk twist, how do their outcomes change, or stay the same?
SUBMISSIONS CLOSE JUNE 30, 2014.
We will contact all submitters within four weeks of submissions closing.GENERAL GUIDELINES:
- •Stories should have a visible development arc, even if they are somewhat experimental.
- •Stories should be in English, but we take a broad view of English, which includes dialect, accents, local slang, and non-English words that express nuances that standard English can’t.
- •Characters should be embedded in their settings. We should not be able to transplant the specifics of their story easily, even if they are based on common science fiction/fantasy archetypes.
- •Local takes on actual historical events are highly encouraged, although not necessary in alternate world settings. Mention in your submission email the specific event you are referencing.
- •Stories featuring queer characters, characters with disabilities, non-normative relationships, and other such non-mainstream narratives are welcome.
ETA: So apparently no one saw fit to mention to me that Indonesia was missing from the list and I had to find out through some wayward middleman tweeting that folks were feeling left out
So I’m editing and re-bageling for ALL THE INDONESIANS!
And if folks could keep reblogging this as a LINK and not convert it to text because it makes following reblogging kind of wonky, that’d be much appreciated
Y’all, blackwolfchng and I really want to see a lot of SEAsian contributors!! We have contacts from the Philippines, Malaysia, Singapore, Indonesia, a couple in Thailand, and SEAsian-American folx… if you have people in Cambodia, Burma, Timor, Brunei, and Laos that you think we should contact, let us know!!
I also want to specify that non-SEAsians with connections to SEA are also welcome.
I also want to specify that SEAsian ethnic groups who don’t exactly belong to any specific nation-state are also welcome.
I also want to specify that diaspora SEAsians are also welcome.
I also want to specify that SEAsia has a long history of trade with South Asia, Africa, Arabia and East Asian countries and we welcome stories about those histories as well.
THE POSSIBILITIES ARE LARGE AND ENDLESS.
34% of trans women who had attempted to access shelters were denied entry outright. Of the respondents who did manage to access a shelter, 25% were evicted after it became known that they were trans. 55% were harassed by shelter staff or residents, and 29% of trans women were physically assaulted. 26% were sexually assaulted at shelters. Overall, 47% were treated so poorly that they chose to leave the shelter.
1) Stop calling our natural hair ugly.
3) Stop using placement in the natural hair community to bully Black women who may still have relaxed hair or weaves.
4) Stop saying “she’s pretty…for a dark-skinned woman.”
5) Stop saying “she’s pretty…for a big/fat woman.”
6) Stop implying that any biracial women who identifies as Black or any light skinned Black women are the only ones that are attractive, and stop acting like any Black woman who deviates from this appearance should be “lucky” to have a man, regardless of how utterly lousy that man might be. Love is not something to be rationed out like a commodity only for those who are closest to appearing White.
7) Stop saying “you’re too pretty to be single.” Attraction to someone has NOTHING to do with THEIR choice to pursue a relationship or not. This is inherently patriarchal and in fact not even a logical thing to say.
Who should stop this? ANYONE who does it (that’s you White and people of colour), INCLUDING other Black men and Black women. Reject White supremacist, Eurocentric and patriarchal thoughts about beauty.
Mexico, abundant in sugar production and too poor to buy fancy imported European church decorations, learned quickly from the friars how to make sugar art for their religious festivals. Clay molded sugar figures of angels, sheep and sugar skulls go back to the Colonial Period 18th century. Sugar skulls represented a departed soul, had the name written on the forehead and was placed on the home ofrenda or gravestone to honor the return of a particular spirit. Sugar skull art reflects the folk art style of big happy smiles, colorful icing and sparkly tin and glittery adornments. Sugar skulls are labor intensive and made in very small batches in the homes of sugar skull makers. These wonderful artisans are disappearing as fabricated and imported candy skulls take their place.
The Day of the Dead celebrations in Mexico can be traced back to a pre-Columbian past. Rituals celebrating the deaths of ancestors had been observed by these civilizations perhaps for as long as 2,500–3,000 years. In the pre-Hispanic era skulls were commonly kept as trophies and displayed during the rituals to symbolize death and rebirth.
from another source:
It was a ritual the indigenous people had been practicing at least 3,000 years. A ritual the Spaniards would try unsuccessfully to eradicate.
A ritual known today as Dia de los Muertos, or Day of the Dead.
Dia de los Muertos is celebrated in Mexico and certain parts of the United States, including metro Phoenix.
Although the ritual has since been merged with Catholic theology, it still maintains the basic principles of the Aztec ritual, such as the use of skulls.
and then.. from another article:
Because the chronology of Meso-American history is so muddled, it’s unclear as to when and how the use of sugar skulls became popular in the celebration of Dia de los Muertos. What we do know is that it was the result of the cultural merging after the Spanish conquest in the sixteenth century. The use of sugar art (including skulls) in the celebration of All Saint’s Day can be traced back to twelfth century Europe.
Following the immigration of nearly 200,000 Spaniards, sugar plantations became one of South America’s largest economic resources. Whether it was because the natives were forced into slave labor or a friendly exchange of cultural practices, the history books don’t say. But at some point, the making of sugar skulls was introduced to the indigenous people who still remained, not having fallen victim to disease or genocidal slaughter brought on by the Spanish settlers and their armies. Since sugar was abundant and relatively inexpensive, it’s logical to conclude that the early Meso-Americans would have found the making of sugar skulls a satisfactory substitute for real skulls, a practice which would have been abolished along with all other native rituals. Over time, the newly defined Catholic rite would completely dominate any other religious notions, with the threat of death as punishment for those who would dare resist.
the articles that keep coming up say italian missionaries have brought it over to mexico, but an important key factor is that the people could not afford to buy the decorations from the missionaries, so they made their own from something they had plenty of; sugar. From then on they perfected the lovely designs on what we see now on sugar skulls :) Skulls used for dia de los muertos ceremonies and dia de los muertos have existed way before the europeans came there though, so its not like they introduced the concept of skulls to us. I hope this helps! If anyone else wants to contribute you’re more than welcome to! -e