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White suits for men

‘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…’

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2 Years of Publishing

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.

 

Poetry Tutoring at Long Exposure

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.


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Call for Submissions: Illustrations

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.

Readings from Issue 3, by Keith Moul

Hear Keith Moul read four prose poems featured in Issue 3.

To read Keith’s work along the photography they respond to, access Issue 3 here.

Long Exposure Issue 4: Call for Submissions

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

Full submissions guidelines.

We look forward to hearing from you!

Long Exposure Magazine, Issue 3 Now Available

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.

LE 3 New

Christmas Photographs: A New Poem by Lesley Burt

Family history told through
various sofas, hairstyles,
decorated pine trees;

children changing heights
to stand beside Santa in
different stores and towns;

one where, laughing, we all
strum inflatable guitars
brought home from Memphis.

One where, on the day,
I could not see that my mother
already looked like a ghost.

Rocks and Water by Heather Wheat

My son stands before me, facing away,
his shirt back straight, his posture
perfect.
I am afraid that when he turns to
face me, after dropping his rock in a
bucket half-full of water,
he will be
10,
20,
30,
and I will regret those
millennia in between.
A drop of water strikes a rock;
I see just how quickly the
surface changes,
but the substance beneath stays
the same.
And I am grateful for love.

Begin Again: Father to Son by Len Kuntz

Maybe now you can see the stars
leaning bright-tipped above your head.
And perhaps you notice how,
if you stitch them together,
they become glowing jump ropes,
the clouds as children
leaping and yodeling over arc shadows in a twilit park.
Sometimes we have to learn to love other things
and nature is what sutures,
what heals,
placing a palm on the middle of our back,
a bit like a demanding nurse
gently prodding, pushing and pulling us up on our feet
so that we might begin again.
Sometimes we have to choose others
which really just means loving ourselves first and foremost.
This is no rebuke, no judgment. There’s enough of that in the world.
But, Dear Son,
the noose and the blade are no one’s friend,
so please
please give them up for once.
If you can’t do it alone,
at least take my hand.
Here.
Good. Thank you.
Up we go now, off this bed and out that door
and into the night,
cool air on our skins,
crickets and stars and smell of weed grass everywhere.
Ah, through a cloud scarf
the moon has just this second peeked out,
perfectly pale and round.
Do you see it? Yes?
Won’t you take a step and stand where I’m standing?
Why don’t you get a really good look
and, if you think you can,
raise your voice and tell her
how beautiful she is.

Two Poems by Dairena Ní Chinnéide

Green Rockpool

Photography by Dairena Ní Chinnéide

Departure

Like shedding skin
fragments are packed up
shards of sanctuary disappear
the cottage dishes are washed
bags negotiate themselves
in a form of farewell.

I sit in this artists retreat
observing beauty peeking out of a Lidil’s bag
almost completed paintings
of a desire
as transitory as the brushstroke
the intentional randomness
of a splattered and empty easel.

Colours echo more than sound
or the potential of memory
from the artistry within us
swallowed gulps of gaiety
a whole moon on a shoulder
the palette of parting
still wet in cracks of stone.

Flying the Coop

flown coop,
a wall
between emptiness.

space expands
in this narrow
house

I do not inhabit,
just resting,
conjuring my nest.

aloneness
blares,
digitally enhanced,

oneness
breathes personality,
comet risen;

I blossom
by dim light
in my bed,

loverless,
ecstatically naked,
like water.

purified silence
delves in, I live alone,
alive.

The Death of My Wife (After Mei Yaochen)

MeiYaoChen

The year is like a snake,
crawling through a field
tortuously toward its end.
Clouds like trucks roll
across the sky.
Stars burn in the void
of a black night, only to die.
My toenails are as long
as sabers. My hair
falls into my eyes.
Writing a poem is harder
than climbing a mountain,
or drinking from a dry fountain.
My face looks as old
as the Yellow River.
Only two months ago,
I felt like I was twenty-five,
when you were still alive.

Long Exposure Magazine: Front Cover Opportunity

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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: editor@longexposuremagazine.com
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:

Twitter: @longexposuremag
Facebook: Long Exposure Magazine

Review: Insatiable Carrot by Judy Kendall

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Insatiable Carrot by Judy Kendall (Cinnamon Press, 2015)

For many writers, the garden, as a natural environment partly shaped by the individual’s personality, has maintained a considerable attraction. W.H Auden writes in his poem ‘Moon Landing’, ‘…give me a watered, lively garden, remote from blatherers/about the New’, asserting a preference for the tangible, domestic space in place of man’s progress into new territory. Composed in the latter part of the poet’s life, the simplicity of looking out on a stretch of tended land he could call his own represented a retreat from the accelerated intensity of the modern world. It also provided a security Auden had rarely been afforded, a sense of belonging.
Judy Kendall, in turn, employs her poetry to articulate a connection with the land, how the tactile and physical work of maintaining a garden, and the attention this requires, can be channelled into poetry, and may in fact embody the same characteristics.
The poems form observations of the continuous processes of life happening outside ourselves, from the slow progress of growing vegetables to the shriek of an owl at night. Subsequently, many examples draw from features of the Haiku form, with a focus on individual moments of action or stillness. Movement and a sense of the dynamic are key throughout, with the text moving fluidly over the page, resisting constraints or predictability. Through this, Kendall communicates elements both of her gardening and writing processes, and the essential relationship between them. The division between human activity and the natural world, and the poet’s resistance to this, is succinctly but strikingly probed in the line:

‘garden house divide
civilization –
as thin as that?’

-From ‘V
erge’

Throughout there are experiments which offer new challenges to the reader in this immensely varied collection, displaying Kendall’s exploration into the use of visual poetry and typography, and increasing the reader’s engagement, as they become involved in bringing its nuances to the surface. There is a huge creative energy and vibrancy behind the work, and its range is broad, spanning lyric poems, such as traditional sonnets, one or two-line fragments, arrangements with a variety of fonts, and examples where the text is effectively double exposed in appearance, as in ‘A little hedge-cutting?’, where this innovation potentially mimics the vibration of operating an electric hedge trimmer.
As a result, the poems are ambitious in their desire not only to represent experience in language, but to communicate some of the fundamental elements of the activity or object observed through maximising the poems potential, and what can be achieved with the written word on the page. The text works to provide more immediate and multi-sensory data of the experience than a simple re-telling.
In this way the poems, through their innovation, suggest a return to the source, a quest to assist us in remembering our place in the interconnected and co-dependent environments we inhabit.

Daniel Williams

A selection of Judy Kendall’s work is included in Long Exposure Issue 2, you can access it here.

Purchase a copy of ‘Insatiable Carrot’ here.

Come and See: A New Poem by Marcus Jones

 

you don’t have to be extreme
to be content,
other forces feed
this show-
they build on what has been
and mingle with consent,
then roam the rivers we invent-
using nature and nurture’s seed
to make it grow.

unshade your grey, reclusive hours
and play your made, profusive flowers
all the way:
don’t let regret upset your dream-
it’s all it’s light has been
and make what it empowers
from today.

but hark at me!
not knowing
what i’m sowing
day to day
deliberately-
and yet, i know it’s coming,
comes from going
out of me-

what i don’t make, i borrow-
come and see.

 

Bio: Strider Marcus Jones is a poet, law graduate and ex civil servant from Salford/Hinckley, England, with proud Celtic roots in Ireland and Wales. A member of The Poetry Society, his five published books of poetry are modern, traditional, mythical, sometimes erotic, surreal and metaphysical http//www.lulu.com/spotlight/stridermarcusjones1. He is a maverick, moving between forests, mountains and cities, playing his saxophone and clarinet in warm solitude. His poetry has been published in numerous journals and anthologies to date.

Four Tanka-Art Pieces, by Andja Petrovic

TTR1

TTR3

TTR6

TTR5

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.”

an’ya is cattails Principal editor for the United Haiku and Tanka Society (UHTS), and was voted one of the top ten haiku poets in the world by her peers in 2011.

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.

Long Exposure Magazine, Issue 3: Call for Submissions

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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: editor@longexposuremagazine.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

Twitter: @longexposuremag

Boudhanath: A New Poem by Abhay K

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The great wheel of Dharma
spins incessantly
drums rend the earth and heavens
mendicants pray for alms
pigeons feed on scattered corn
visitors click endless images
Cosmic mandalas adorn windows
handicrafts, Bodhisatvas in all avatars
Monks meditate in maroon robes.
Wearing a gleaming white robe
I sit at the centre
safeguarding Buddha’s relics
My eyes —
    benevolent and wise
bless the cosmos
     heal the diseased
ease the suffering.

Bio: Abhay K. is an Indian poet-diplomat. He is the author of two memoirs and five collections of poems. He has been awarded the SAARC Literary Award 2013 and nominated for the Pushcart Prize 2013. His poems have appeared in leading literary journals in India, Russia, UK, and USA and have been translated into Irish, Russian, Italian, Nepali, Hindi and Chinese. His most recent collection of poems The Seduction of Delhi was published by Bloomsbury India. He is the editor of CAPITALS — an anthology on the national capital cities of the world. The SAARC Song penned by him has paved way towards an official SAARC Anthem. His call for an official Earth Anthem has been lauded by UNESCO and supported by the Habitat for Humanity. http://www.abhayk.com.

This poem forms part of a larger sequence about various heritage sites in Kathmandu, Nepal.

Image Credit: Boudhanath Stupa – Kathmandu, Nepal. Source: http://www.mysticxpressions.com

Long Exposure Magazine, Issue 2, Upcoming Release

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The second issue of Long Exposure Magazine will be made available online from this Friday, 19th June.

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

Twitter: @longexposuremagazine

Renoir at Les Collettes: A New Poem by Byron Beynon

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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.

Haiku in Translation, by Gabriel Rosenstock and Mariko Sumikura

lantern

foirfe amach is amach –
ciúnas an laindéir
ar a chrúca

utterly perfect –
the silence of a lantern
on its hook

Gabriel Rosenstock
(Composition in Irish Gaelic and English)

まこと見事な―
フックにかかった
ランプの沈黙

Mariko Sumikura
(Japanese Translation)

Negro Quarter, Tupelo, Mississippi, March 1936: A New Poem by William Doreski

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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

Twitter: @longexposuremag

Long Exposure Cover

Provisional cover for the upcoming issue, featuring Haiga art work by Gabriel Rosenstock and Ion Codrescu. Submissions for our Eastern poetic forms specialism as well as other textual and visual work remain open. See our submissions guidelines for further details.

Long Exposure Magazine, Issue 2: Call For Submissions

The Haiku Edition

The Haiku has become a widely used daily exercise to keep us working with language, its syllabics offering the challenge of condensing and paring back an observation or train of thought to its essentials.
It is also a form which connects with common place or spontaneous observations, such as those on a daily commute, and lends itself to capturing them sharply and without superfluous description.
It is this ability to capture that Long Exposure wishes to explore for the next edition.
We will be looking for submissions of traditional Japanese forms such as Haiku, Haibun, Haiga, and Tanka, and other textual or visual work which shares its philosophy.

Alongside this the magazine will also include the usual range of new writing, photography and visual art across a broad range of styles and themes; submissions of all are welcome.

View our submissions guidelines for further details.

All submissions to: editor@longexposuremagazine.com

Thirteen Ways of Looking at a Self Portrait: A New Poem by Eric Nicholson

Self Portrait in Hell

I cannot find myself
in a threatening form with bird’s head. I stand
naked on a beach.

I was of two selves
and met my other self walking
towards me down a familiar street.

Art’s created from heart’s blood.
I paint Self Portrait in Hell,
a blood vessel bursts in my eye.

My relationship with Tulla ends
in violence and I lose a finger
joint from my left hand.

I do not know which to prefer,
the truth and anguish of art,
or the anguish of each day.

I’m sitting by a window,
my disfigured ‘hand of destiny’
clearly framed.

Another portrait in another room,
the space behind me shining through
my physical body.
Eyes of fire glow in the window pane.

I smell the resin
from the tall pines in the forests
of my childhood.

Each moment the door shuts.

I carefully measure the slow decline
into infirmity and old age.
I’m staying at Asgardstrand Hotel.

I walk with my hazel stick among
the violets and primroses in the perfumed
brilliance of spring.

The sunshine glances
off the south face
of Hardangerfjord. My mountain of mankind
rumbles in the distance.

Now the waterfall’s rushing
in my ears.

Bio: Eric Nicholson is now retired. He worked as an ESOL teacher and in other fields of education. Now in his retirement he enjoys countryside conservation, writing and walking. His work has previously been published in www.neutronsprotons.com,www.literaryorphans.org and www.emptysink.com. He blogs on http://www.erikleo.wordpress.com

More of Eric’s work is forthcoming in Long Exposure, Issue 1.

Image: Self Portrait in Hell by Edvard Munch, oil on canvas, 1903. Property of the Munch Museum, Oslo, Norway.

Durer’s Great Piece of Turf by Karen Stanley

It sits in your studio, in water
this piece of another world,
this slice of not-so-still life
you dug with your spade.

It confuses the bees
this island among paint pots
and brushes; they linger
in its leaves, while your fingers
faithfully trace its living lines,
feverishly catching its essence
before its greenness falls
in on itself and dies.

It is a mini kingdom, supplanted.
Its small subjects, marooned,
look out on an ocean
of sunlit plaster and pine.

You wet your brush with its sea,
colouring in grey outlines;
steeping soul into the paper
replica – setting its sky on fire.

Continue reading “Durer’s Great Piece of Turf by Karen Stanley”

Night in the City: A New Poem by James Bell

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.

Two Poems by Lesley Burt

Edward Hopper

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)

Continue reading “Two Poems by Lesley Burt”

Souvenir: A New Poem by Carissa Faulk

This pocket mirror
from across the Pacific
closes like a clam
to hide its pearly finger-prints.
It fears it will forget
the green rice fields,
rice cakes, burnt rice-water,
jumbled, jingling, jabbering
street markets
and song birds.
It is caged now,
and so it closes.
When I pry it open it reflects
only my own face back;
it does not sing anymore.

Bio: A native of the Los Angeles area, Carissa is currently earning a Bachelors degree in English at California Lutheran University in Thousand Oaks, California. She hopes to teach junior high English while continuing her writing career. Her work has appeared in FIVE Poetry Magazine and the Larcenist Literary Magazine. She was also the third place winner of the Blue Mountain Arts 22nd Annual Poetry Prize.