Poetry | Fiction | Visual Art
Long Exposure Magazine was founded to feature creative writing, photography and other visual art, and explore the ways in which they can interact; how writing responds to other art forms and vice versa, and what new possibilities arise. Long Exposure now publishes a wide range of poetry, flash fiction, photography, art and illustration, as well as work which combines these forms from individuals and collaborators.
The art of Van Gogh and the sculpture of Louise Bourgeois inspire in these two new poems from Charlene Kwiatkowski.
Matthew E. Henry draws inspiration from Edward Hopper’s 1952 painting Morning Sun for this new poem.
In the latest in the Word & Image series, Marianne Szlyk discusses the influences of art on her poetry and how referring to other forms can help writers get ‘beyond the limitations of the self’.
Continue reading “Ekphrasis: Moving Beyond One’s Self in Poetry” →
Perry Nicholas reviews On the Other Side of the Glass, the latest poetry collection from Marianne Szlyk.
Continue reading “Review: On the Other Side of the Glass by Marianne Szlyk” →
“A photograph is a secret about a secret, the more it tells you, the less you know.” — Diane Arbus
Continue reading “Word & Image: On Writing How Darkness enters a Body by Sarah Nichols” →
Ronda Redmond contributes a powerful evocation of maternity and the body in this new poem.
In this contribution, Devon Balwit and Laura Page discuss their respective art forms and the ‘larger conversation between creators’ created in collaboration.
In this new poem, Devon Balwit takes the abstract forms of Laura Page’s art work as a starting point for creative potential and a powerful human narrative.
Heidi Mae Niska and Julie Gard reflect on their prose poem and photography collaboration set in northern Minnesota.
In this new poem, Lesley Burt explores the work of Van Gogh, discovering in it the possibility of a world ‘unclaimed by names’.
Northern Minnesota is the focus for these works, combining photography with prose poetry, itself a form which resists easy definition, to explore perception and the interaction of images and language.
Gabriel Rosenstock, born 1949 in postcolonial Ireland, is a poet, haikuist, tankaist, and novelist with over 180 books published. Recent titles include the comic detective novel My Head is Missing (Evertype, 2016) and the ekphrastic haiku volume Judgement Day (The Onslaught Press, 2016) in response to the collages of the anti-Nazi artist Kurt Waldmann. Among his awards is the Tamgha I Kidmat medal for services to literature. He blogs at http://roghaghabriel.blogspot.ie/
His series as Writer-in-Residence for Long Exposure will see him responding through haiku to a range of photography from around the world, teasing out their narratives, ideas, and resonances.
Anne Weisgerber discusses and reads her flash fiction piece She Curled Tight for Long Exposure Magazine.
For more flash fiction like this, purchase Issue 4 of Long Exposure Magazine here.
‘At the end of each song he lays the saxophone on his lap, leans over and spits into a tin bucket. The floorboards under his chair are worn from years of heels tapping syncopated rhythms. His toe breaks through the sole of the boot, yet the shine remains jet black and sharp…’
Paul Rabinowitz reads his flash fiction piece Syncopated Rhythms for Long Exposure Magazine.
Art by Karen Boissonneault-Gauthier.
At the end of each song he lays the saxoph
Gabriel Rosenstock discusses the philosophy of Haiku and the ability of the form to disrupt everyday ways of seeing and thinking.
‘Emptiness’, his collaborative work with American Photographer Ron Rosenstock, is out now from Long Exposure Press.
‘The richness of this book lies not in any one person’s contribution, but in the fertile space between them – between word and image, between languages, between word and silence, between landscape and light.’
£4.99 (Digital Edition)
‘Through photography I have sought to explore the space between the finite and the infinite. For me, infrared photography is on the borderline, the veil between the known and the unknown … a search for what is beyond the doorway of perception. What draws me—what speaks to me—is the mystery …’
– Ron Rosenstock
Long Exposure Magazine, Issue 4, is now available!
You can preview and purchase the issue here.
Now including flash fiction from several prominent practitioners of the form, alongside the usual international selection of collaborative and individual work in poetry, photography, and visual art.
Long Exposure Magazine has now been publishing for 2 years!
During this time the magazine has been fortunate enough to publish a fantastic range of poetry, photography, visual art and critical work from around the world. Many thanks to each contributor and reader who has been involved so far.
Issue 4 will add sharp and engaging short fiction to this output, featuring more writers and artists than any previous issue.
These are exciting times as we look to expand the magazine and above all promote high-quality creative work and those who are producing it.
Long Exposure Magazine is now offering feedback and guidance on a selection of your poetry. For an introductory fee of £10 you will receive rigorous feedback and editorial advice on a set of up to 5 poems through e-mail correspondence.
Editor Daniel Williams holds undergraduate and postgraduate degrees in literature and creative writing and has published poetry widely on-line and in print, including at Cadaverine, Ink, Sweat, And Tears, and Envoi. Alongside his work in editing and publishing, he has experience of teaching creative writing in a variety of contexts, from local community to university level.
Make your payment below and the editor will contact you to receive your work and begin your tutoring session. Any enquiries can be sent to editor@longexposuremagazine.com.
Further opportunities at Long Exposure Magazine.
Long Exposure is looking to put together a list of artists to work with frequently who can respond to the writing published in the magazine, through painting/illustration, photography and other visual art forms, to be featured alongside the creative writing pieces in each issue. This is an opportunity for regular publication and promotion. If you are interested in this project please contact editor@longexposuremagazine.com with a brief introduction and a sample of your work or links to some examples. You can see the type of work the magazine has published so far here.
For the next issue, Long Exposure is opening up submissions to fiction, specifically very short fiction of 700 words or less. In previous issues we explored traditional short forms such as the haiku (Issue 2), and how an economy of language and sharpness of observation can heighten the impact on the reader by using a minimum of words.
Definitions for this type of fiction are various, and as such our criteria are broad. Whether your pieces lean towards a fluid and poetic style or want to focus on delivering an engaging narrative in a tight space, we would love to read your work.
As usual we are open to poetry submissions on any style or theme, but with a particular interest in the Ekphrastic genre or work which combines text and image, as well as to photography and art work and collaborative projects between writers and artists.
See previous issues for the type of work we have published to date.
If you have an idea for an essay or article, particularly on the relationship between creative writing and the visual arts, contemporary poetry and poetics, or the arts in education and society, contact the author to discuss.
All submissions and enquiries to: editor@longexposuremagazine.com
We look forward to hearing from you!
The new edition of Long Exposure Magazine is now available!
Featuring an international selection of new creative writing, photography and visual art.
Access it here:
Long Exposure Magazine, Issue 3, July, 2016.
We hurtle into a long tunnel:
windows reveal nothing beyond
reflections: people, red upholstery,
and windows reflecting the reflected.
In a magazine left on the table
among coffee rings, NASA reports
a rocket: to launch a moon crew,
using a single five-segment booster.
Astronauts will build lunar outposts,
pave the way for journeys to Mars;
its south pole will provide water, ice
and abundant sunlight for power.
The steward sways along the aisle
rattling refreshments on a trolley;
passengers drink, read, doze; trust
steel lines, solid earth, unseen driver.
We shoot out of blackness – where
blocks of flats loom higher than
street lamps and trees’ winter skeletons –
into the light of a yellow moon.
First the stars
blocked in canary yellow
the stars are made of glass
next the mountains
deckled cool blue, an organic horizon
the mountains hiss of fear
next the desert
dunes ruched in ochre red shadows
the desert is the story of landscape
then a pitched tent – last onto the paper
solid night silhouette
secure enough to withstand a storm
where we recline on foreign bedding and listen in
to the unprinted white spaces and
ink the future.
For more of Jane’s work keep updated with Long Exposure Magazine, Issue 3, forthcoming.
(After Mark Doty)
Splendid in rows like the silvery dead
your afterlife now lit in amber
as if each caught fire then dived
into waves of crushed ice.
Your summer skin glows oiled bronze
a tiger-burnt patina of experience:
the shimmer of youthful flash
quietened by an old gold currency;
this is the whole fish, no etiolated fillet
slit from a bodybag –
the meat needs strong company
in a sweet glisten of horseradish.
The biggest fish catches my eye:
its white stare from a hollow socket
half-winks at me to unwrap its silk
chevrons, strip it to the nub.
I want its dark flesh: its eye,
drowning in dry air, wants mine.
For more of Stephen Elves’ work look out for the release of Long Exposure Magazine, Issue 3.
longexposuremagazine.com