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.
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 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 email@example.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 firstname.lastname@example.org 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: email@example.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:
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.
Bolts and Woodgrain
Look out from the observation platform at Washington Pass. The view’s the thing! Mountains ranged before the glowing light, mountains before the wind; mountains after all that wind, that to the eye, resist encroaching trees. Yet for some the weathering wood, sturdy retainer, and bolted steel at close perspective, assuring notice to the orange and black stain, graying from snow and rain, growth rings insistent as annual pleas, draw our focus, demand our first consideration now, during light, during clarity, during rare peace among those rocks seemingly indifferent to ice.
Ferry car deck serves as temporary road, dumping dark waves of Puget Sound aside, waves that spray the sturdy car-trap, with yellow rope reminding careless passengers that danger in a lurch, catastrophe in a lunge, eternity at depths with fishes for company. So the highway waddles through whitecaps; fights light that escapes enveloping clouds; cherishes sun serving as spotlight for an audience of trees on the dark shore, danger and entertainment both; jilts passengers’ eyes straining for known landmarks, signs of the journey’s continuance; relieves those bobbing in desperation for deposit at the dock where the boat will shudder after coupling, revving its anticipation for return to Keystone.
The search (which I shouldn’t have to explain) never ceases. In this case, partially obscured beneath lacey cedars, light haloes its past usefulness; light surrenders to closing darkness children no longer served in remote Marblemount. The search exposes epiphany: raw transformation of weeds and invading mosses compel display of the human condition, while behind this point of timely view, out of sight, but detectable by the ear, the Skagit River surges, propelling hurried rocks in their slow conversion from a Cascade peak into silt proceeding in perfect accord with natural law toward future compactions.
The whole point of such objects is mystery: a tree survives peculiarly from its own time, its own space, no known context, no comradeship in wood, no causes before gods, no election to elite membership, only sad credibility that buoyancy prevails, currents and tides obliged to the moon arbitrate. Then to persist here on a shore, a fireless dragon guarding time, like a white bone completing a duty with dignity as though in a palace arbor.
Click an image to enlarge.
Mark Blickley is a widely published author of fiction, non-fiction, drama and poetry. His most recent book is ‘Sacred Misfits” (Red Hen Press) and his latest play, “Beauty Knows No Pain,” opens in November at NYC’s 13th Street Rep Theater. He is a proud member of the Dramatists Guild and PEN American Center.
Frie J. Jacobs is a Belgian visual artist, poet and composer. His 2015 credits include exhibiting at the international Art Festival Watou in Belgium, and the Brussels International Underground Poetry Festival at WIELS (one of the leading institutions for contemporary art in Europe). Along with participation in numerous group and solo art shows, he co-curated Project O, a roofless independent art project. Jacobs also composes music and soundscapes for video, and is a member of the international artist collective, Urban Dialogues.
For our next issue, Long Exposure Magazine is seeking photography or visual art based on the theme of ‘Movement’. The representation of movement, such as the play of light, the movement of animals or the actions of figures, have been a long standing preoccupation for the techniques of creative writing and the visual arts. The theme is open to new possibilities and can be interpreted in any way you choose.
A selected image or art work will then be chosen to feature as the front cover of Long Exposure Issue 3. Submissions to: firstname.lastname@example.org
As always, we look forward to viewing your work!
To view the type of work we have featured to date, read our previous issues here.
For the latest updates on the progress of the magazine and to view new content, support Long Exposure on social media:
Facebook: Long Exposure Magazine
Bio: an’ya is the haigo (haiku nom de plume) of Andja Petrovic. an’ya loosely translates to “a peaceful light in the moonless night.”
She has won world-class awards and honors for her haiku and other verse forms from Japan, Canada, New Zealand, Australia, Germany, India, the UK, Brazil, and the Balkans.
Her work has been published in numerous international publications and anthologies. She and has been editor-in-chief of haigaonline, Moonset, the Tanka Society of America newsletter and the Haiku Society of America (HSA) 2011 anthology and is a winner of the HSA Merit Book Award. She is a founder and President of the Oregon Haiku and Tanka Society.
Submissions are now open for our third issue!
So far, the magazine has been fortunate enough to engage with and publish fascinating collaborations between creative writing and the visual arts, and we continue our interest in this type of project, whatever media is involved. We are always open to new projects being brought to our attention, and if you feel your work may be suitable for publication in the magazine or would like to enquire further then don’t hesitate to contact the main e-mail address at: email@example.com.
Alongside direct collaboration between art forms, the magazine continues to publish striking and innovative contemporary poetry, photography and other visual art in its own right, from practitioners at any stage of their careers. You can view our general submissions guidelines here: https://longexposuremagazine.com/submissions/
Both previous issues can be accessed online and free of charge, so if you have an interest in this field and would like to see the style and range of previously published work, we would greatly appreciate your support in reading Long Exposure’s output to date.
We look forward to receiving your work, and to continuing to explore the possibilities for contemporary arts.
To keep up to date with the progress of the magazine and our activities, follow Long Exposure on social media:
Facebook: Long Exposure Magazine
The new edition of Long Exposure Magazine is ready! Featuring an internationally diverse range of creative work in a variety of forms. Access it here: http://joom.ag/g6Ob
Please enjoy the issue and share!
Support Long Exposure on social media:
Facebook: Long Exposure Magazine
The edition is focused on a variety of eastern poetic and artistic forms, and features the collaborative work of Ron Rosenstock and Gabriel Rosenstock, combining haiku and photography, a sequence based on the art of Hiroshige, several examples of Haiga art work, visual poetry and more.
Keep updated here at the Long Exposure website, or follow the project on social media:
Facebook: Long Exposure Magazine
At the Water’s Edge
after Cezanne, “At the Water’s Edge” (c. 1890)
Resisting the hot wind, this house at the water’s edge
retreats beneath the whir of trees.
Their dry brushstrokes are blue like water or sky
and green as the end of spring.
But mostly they are the colors
of canvas, earth, and parched leaves.
The sky is a haze of brushstrokes, a wash of turpentine,
smoke to the water’s edge.
Hills loom behind the house;
they are mirages made of thinned paint.
More buildings appear, shimmers in the haze,
reflections in the water.
No swimmer, no boat breaks the surface,
more mirror for land and sky than home for fish and weeds.
But the house’s heart is dark and sweet
with sage and lavender, with the scent of grass and lake
protecting its guests from the hot wind, the drought,
and the smoke to the water’s edge.
Birch Trees in North Carolina
Seen from the window of the slow train south,
the needle-thin trunks glint
the way the odd, white threads do
in a quilt of blues, browns, and greens.
I do not recognize all of these trees,
but I know the birch.
Its peeled bark is snow clinging to spring.
Its leaves are wind chimes.
Its roots clutch at the stone wall
between long-gone pasture and forest.
I see this birch in Carolina,
not where I expected it,
but here among the rows
of oak and pine, beside
pools of water, part of
this quilt of sky, earth, and vine.
Bio: Marianne Szlyk is a professor at Montgomery College and the editor of The Song Is… Recently, she published her first chapbook, Listening to Electric Cambodia, Looking at Trees of Heaven, with Kind of a Hurricane Press: http://barometricpressures.blogspot.com/2014/10/listening-to-electric-cambodia-looking.html Her poems have appeared in a variety of online and print venues, including ken*again, Of/with, bird’s thumb, and several anthologies by Kind of a Hurricane Press. She hopes that you will consider sending work to her magazine. For more information about the spring/summer contests, see this link: http://thesongis.blogspot.com/2015/04/contests-for-springsummer.html
The cicadas already
conduct the sound of the day.
Early conversation in a garden
with olive trees and a view
towards the Mediterranean.
The optimism you had –
being an old man
with crippling arthritis –
for life, health,
the beauty and vigour it could afford.
Inside the house your studio
with armchair, easel,
brushes and frames,
the quiet edges of the room.
The hushed strokes of passing
time, the depth of eye
as figures walk by
flooded in red-golden light,
the sensuality touching
a disclosure of heat.
Bio: Byron Beynon lives in Swansea. His work has appeared in several publications including Kentucky Review, Planet, The Independent, Poetry Wales, The Blue Moon Literary and Art Review (California) and the human rights anthology In Protest (University of London and Keats House Poets). He has given talks about “Poetry and the Mirror of Art”, how paintings have been used to inspire writers. Collections include Cuffs (Rack Press), Human Shores (Lapwing Publications, Belfast) and The Echoing Coastline (Agenda Editions).
Image: ‘The Farm at Les Collettes’, by Auguste Renoir. Date: 1908-1914. Oil on canvas. Property of The Metropolitan Museum of Art.
Negro Quarter, Tupelo, Mississippi, March 1936
The barn-slab of board and batten
must be a house: tin roof propped
above the porch, four over four
window, wood shingles clumsy
as a mouthful of store-bought teeth.
The whole thing slants to the left,
toward a courthouse white against white sky.
The slim black man in neat black suit
leaning against the building’s tilt
holds the entire scene together.
Beyond him, a small clapboard shack,
a few twists of wire, and the long wall
well beyond which the courthouse looms.
But where is the black man looking?
What’s around the corner and why
doesn’t he acknowledge the camera,
an eight by ten Deardorff, pointed
squarely between his shoulder blades?
You’d think anyone in Tupelo
in 1936 would sense
the threat, the long lens piercing
otherwise impassable distance
to center this man in a city
he may have little cause to love.
Bio: William Doreski’s work has appeared in various online and print journals as well as in several collections, most recentlyThe Suburbs of Atlantis (AA Press, 2013). This poem is part of a larger sequence based on the photography of Walker Evans. To read more of William Doreski’s work keep updated on the progress of the forthcoming issue:
Facebook: Long Exposure Magazine
you can almost hear a siren’s distant howl
his cigarette is fresh and will take a while to smoke –
she will stand and wait for an answer
their window is closed against the night air,
noise and car fumes – they prefer their own temperatures
and aromas, half undressed or dressed
her perfume stronger; she wears a black skirt
and bra for heat rather than warmth – the red mask
hooked on the window frame is for a perspective
to see through any party masquerade
that has been or is yet to be – while
both sets of eyes are locked together
they see each other with the same expression – question
whether resolution will arrive before dawn
Bio: James Bell has published two poetry collections, the just vanished place (2008) and fishing for beginners (2010), both from tall-lighthouse. He lives in Brittany where he contributes articles and photography to an English language journal and continues to publish poems nationally and internationally. His recent print appearances include Tears In The Fence, Elbow Room, The Journal, Shearsman, The Stony Thursday Book, Under the Radar and Upstairs at Du Roc.
The label on my suitcase …
… reminds me I do not belong.
Outside, sky darkens over a line
of could-be-anywhere mountains.
Electric light casts shadows around
plain walls, plain carpet, plain curtains;
and the chair with no cushion
where I drop my wrap; perch
on the king-size bed, careful
not to rumple its dull coverlet;
turn sideways from my Buick
parked by the window. Wait.
Anticipate that knock at the door.
(After ‘Western Motel’, Edward Hopper, 1957, Yale University Art Gallery)
White paste, skewed lips, hospital green
you have been drained of blood
your heart clenched tight around your throat
your hair is an oil slick, a shield, a shadow
the line down the centre of your face
jags left and right, dodging bullets
your ear is a walking cane
your shoulders an encampment
asteroids your eyes