Headlight is currently looking for a graduate student from Concordia’s English program to fill the position of treasurer. If you are interested in applying for this position, please email the Headlight team at email@example.com
We’re celebrating the release of our 20th issue with a night of readings! Come out to hear pieces from the journal, and to meet our lovely contributors and editorial team. Copies of the journal will be available for purchase.
READINGS @ 7:30PM
MADELAINE CARITAS LONGMAN
DENISE MARQUES LEITAO
~~ other readers tba ~~
poster by Alex Custodio
HEADLIGHT ANTHOLOGY CALL FOR SUBMISSIONS 2016-2017
**** DEADLINE EXTENDED TO DECEMBER 25 *****
Headlight Anthology is an annual journal published by graduate students in the English Department of Concordia University. Now in its twentieth year, Headlight continues to publish the best in contemporary creative writing, both from Concordia students and across the greater Montreal community. The anthology publishes poetry, short fiction, drama, creative non-fiction, as well as photography and mixed media. Our mandate is to publish new and exciting voices, strengthen our local emerging community of writers, and represent Concordia University and Montreal within the Canadian writing and publishing scene.
We are now accepting submissions for Headlight Anthology’s twentieth edition. We invite writers to explore and interpret this year’s theme of 20/20.
20/20 is when things come into focus, perfectly, like 20/20 vision, or the adage that “hindsight is 20/20.” 20/20 is also a fraction, a perfect 1/1 and 10/10, and can be endlessly divided and multiplied. It’s also a sign of success, a perfect 100%. On the flipside, it’s a sign of testing, of evaluation; something that can motivate us or discourage us. It’s also an age, a time that is for many a bridge between our bildungsroman coming-of-age era and the dawn of early adulthood. A “score” is the term used for a group of 20, and is used to connote many–as in “scores of submissions to the journal.” 20 is the basis for vigesimal number systems. We could go on, but we want to hear what 20/20 means to you.
You can submit:
Poetry (3 poems or up to 3 pages)
Non-fiction (up to 2000 words)
Visual Art (up to 3 images)
Email submissions to firstname.lastname@example.org
Written submissions should be in .doc or .docx format, and visual submissions should be high resolution .png format.
Please ensure that your name does not appear anywhere on the manuscript.
Deadline: December 25, 2016.
POSTER BY ALEX CUSTODIO 2016
Headlight is currently seeking graduate students from Concordia to join our editorial team for 2016-2017.
Positions are available for:
Visual Arts Editors
Please submit a brief paragraph of intent and a CV to email@example.com by November 27, 2016.
The Off the Page literary festival presents Editors Talking Editing: The Other Side of Submittable, a discussion among editorial alumni of Concordia University’s Headlight Anthology and Soliloquies Anthology. Taking place March 17-19, Off the Page will feature readings by Ben Lerner, Anne Boyer, Jordan Abel, and Sonnet L’Abbé, and an array of panels on all aspects of literature.
Former student editors Chalsley Taylor, Domenica Martinello, Geneviève Robichaud, and Larissa Andrusyshyn discuss their undergraduate and graduate publishing and editing experience and their current work in the industry, from editing to managing to writing and more.
Join us on Thursday, March 17 at 4PM for an engaging discussion on publishing and editing, moderated by student organizers Kailey Havelock and Karissa LaRocque. Find the most up-to-date information on Facebook, Twitter, or soliloquies.ca.
Editors Talking Editing: The Other Side of Submittable
Kailey Havelock: In an increasingly digital world, what do you envision as the future of publishing? How does the job of the editor change when computer programs can do so much now, and what potential might this change open up? Do you think publishing will move to the web exclusively, or will literary publications stay in print?
Chalsley Taylor: Digital applications provide vital support, but it falls to our human editors to to source and curate creative work. That said, the more digital publishing tools we have at our disposal, the more possibilities we create for ourselves. I don’t believe the rapid growth of digital publishing means the extinction of print media. Print offers us the physical object we can’t (as of yet) get digitally; however, the standards for that physical object are higher now, in terms of aesthetic appeal, singularity, etc. Likewise, digital publications have the capacity to incorporate a greater variety of media than print can manage.
Domenica Martinello: The future of publishing is hybrid and finely curated. Print will never die, nor will the Internet. Digital spaces have destabilized some of the old guard’s print oligopoly—suddenly there’s this breathing room for risk and innovation, for interdisciplinary and multimedia work, for more fragmented tastes. At the same time, the unfiltered glut of “stuff” produced online makes the physical print journal just as refreshing and valuable as ever. It could be the Gemini in me, but: If editors can harness both the immediacy of the digital (through social media, an online supplement, a blog, etc.) and the intentionality of a well-crafted, thoughtfully curated print journal, they’ve found the sweet spot.
Geneviève Robichaud: I have just spent the morning enveloped in the task of writing about a book of which there is none—Fernando Pessoa’s The Book of Disquiet—and so I feel compelled to answer that, while I cannot imagine addressing the question of the future of publishing, I am interested in works that move beyond the print and digital binary. Performance lectures, for instance, are a way to open the dialogue to a range of ways the sovereignty of the book gets tested, elasticized. Of course, there are several others… many of them located in a combinatory practice that extends beyond a single discipline or medium.
Larissa Andrusyshyn: I do think publishing will see an increased presence on the web. But I don’t think books or literary magazines will disappear. The feel and smell of a book, the place it has on a bookshelf, nothing will change that. But think of how accessible our work can be now, with a smartphone in just about anyone’s pocket; we have an opportunity to reach a diverse audience, more than ever before. But the job of an editor does not change that much. Computers are still hugely fallible, especially when it comes to poetry (layout and playing with syntax), and I don’t foresee a program that can make critical editorial suggestions to an author appearing in the near future. The editor will still curate the publication. They organize the other editors and designers and have the duty to maintain the tone of the magazine and the direction it will take going forward. Also, if there ever was a computer program that would secure funds, organize launches, and do our grant writing for us, well, I’d be plenty surprised. This is the realm of humans, and always will be.
Chalsley Taylor spends her time in Montreal, working towards an MA at Concordia University. Her research and creative interests centre around race, second generation identity, and the politics of place. Currently, Chalsley is the photography editor and art director at carte blanche.
Domenica Martinello is a Toronto-based writer originally from Montréal, Québec. She is the head of publicity for the literary journal The Puritan, and interviews editor for CWILA: Canadian Women in Literary Arts. In Fall 2016 she will begin her MFA in poetry at the Iowa Writers’ Workshop.
Geneviève Robichaud is a PhD candidate in the Département de littératures et de langues du monde at the Université de Montréal. She was an editor for Lemon Hound, Headlight Anthology, Matrix Magazine, Soliloquies Anthology, and most recently for The Town Crier. Her prose has recently appeared in The Capilano Review, Lemon Hound, The Puritan, and Two Times One from the Jan van Eyck Akademie.
Larissa Andrusyshyn’s first poetry collection, Mammoth (DC Books, 2010), was shortlisted for the Quebec Writers’ Federation First Book Prize and the Kobzar Literary Award. Her poems have been long-listed for the CBC Poetry Prize and shortlisted for Arc Magazine‘s Poem of the Year and the 3macs carte blanche prize. Her second collection, Proof (DC Books), was released last spring. She is the reviews editor at Matrix Magazine and she facilitates creative writing workshops in Montreal.
Kailey Havelock in Conversation with Editors Talking Editing was originally published by Soliloquies Writes.
For more insights from our interview guests, join Headlight Anthology and Soliloquies Anthology at the Editors Talking Editing panel at the Off the Page literary festival on Thursday, March 17.
TUESDAY, MARCH 31st 2015
Join us in celebrating the launch of Concordia’s graduate-run writing and visual arts anthology, Headlight #18: Lacunae!
Featured readings by:
Heather O’Neill (author of the Girl Who Was Saturday Night)
Purchase of the anthology gets you a free drink and access to food platters (and some great writing and art, of course!) There will also be $5 beer and highball specials.
We’re looking for:
- Fiction (up to 3000 words)
- Poetry (up to five pages or five poems)
- Non-fiction (up to 3000 words)
- Visual Art (up to five images)
Email submissions to firstname.lastname@example.org
Written submissions should be in .doc or .docx format, and visual submissions should be high resolution .tiff and .jpg formats.
Deadline: December 10, 2014.
EVENT: Daphne Marlatt & Diane Wakoski: Performing the SpokenWeb Archive (Open to the Public)
Friday November 21st, 2014
Exhibits at 6:00 P.M.
Reading at 7:00 P.M.
Grey Nun’s Building
Address: 1185 Rue Saint Mathieu, Montréal, QC H3H 2H6
Phone: (514) 848-2424 ext. 8000
The SSHRC IG SpokenWeb Research Team is pleased to announce its second event in the “Performing the Spoken Word Archive” series. The event will be held Friday, November 21st, 2014 at 6:00 P.M. It will feature readings by poets Daphne Marlatt and Diane Wakoski. Marlatt, a member of the Order of Canada and winner of the Dorothy Livesay prize in poetry for The Given. She has written close to thirty books. Diane Wakoski was a Distinguished Professor and Poet in Residence at Michigan State University from 1975 – 2012. Her work has been published in more than 25 collections, including most notably The Motorcycle Betrayal Poems in 1972 from Simon & Schuster and a book of selected poems, Emerald Ice, published in 1989, which won The William Carlos Williams prize from the Poetry Society of America.
As a live SpokenWeb event this reading will explore how an archive can re-enter public space and become performance. In this event the authors will “read alongside their past selves”–that is, selections of archival audio recorded during the Sir George Williams University Poetry Reading Series (1966-1974). The event will also feature listening stations from the SpokenWeb Oral History project where audience members can listen to past interviews conducted by the team. Furthermore, there will be an onsite memory clinic where audience members can enter a private booth where they will be invited to record their experiences with the event or performed poetry more generally.
Oral Literary History: The Poetics of Real Life Stories with Daphne Marlatt & Diane Wakoski (Open to the Public)
Centre for Oral History and Digital Storytelling.
Friday November 21st at 11am-12pm
Well known poets Daphne Marlatt, a member of the Order of Canada and winner of the Dorothy Livesay prize in poetry for The Given, and Diane Wakoski a Distinguished Professor and Poet in Residence at Michigan State University from 1975 – 2012 and winner of The William Carolos Williams prize from the Poetry Society of America for her work Emerald Ice will be giving a talk. Their discussion will focus on oral history and poetry in order to explore the manner in which memories, facts and fiction intertwine when writing poems. Wakoski whose work has been published in over twenty-five collections creates innovative poems encapsulated in epistolary text, so that the four books can be read as a progression from her epistolary. Marlatt who has published almost thirty books, has also published a work based in oral history entitled Opening Doors in Vancouver’s East End: Strathcona. We hope you will be able to join us for this engaging discussion!