What conversations would you have in a room filled with fellow BIPOC writers? What stories would you write for one another that you have held back from publishing in a pervasively white literary industry? The Fiddlehead invites submissions of poetry, fiction, creative-nonfiction, and cross-genre innovations by racialized writers residing in the area known as Canada (citizenship not required). This includes writers who identify as Black, Indigenous, people of colour, and racialized writers who wish to push back against the BIPOC acronym. Possible topics and considerations include, but are not limited to:
· BIPOC solidarities (eg. with Indigenous land defenders, with Black Lives Matter, with undocumented migrant workers, etc.)
· Critiques of the BIPOC acronym and its tensions or exclusions
· Intersections with other identities/oppressions such as gender, sexuality, ability, class, etc.
· Immigration and diaspora
· Relationships to the English language (eg. dialect, ESL, accents, multilingual work)
· Treaty responsibilities
· Mixed-race identities
· Literary craft beyond/outside of Eurocentric standards
· Subversions of “CanLit”
· Self- and community-care as resistance against white supremacy
· BIPOC love, kinships, and joy
The general rule of only submitting once per calendar year does not apply to the BIPOC Solidarities issue. Please do submit to the BIPOC issue, even if you have already submitted to one of our regular submission periods this year!
The issue will be edited by Fiddlehead poetry editor Rebecca Salazar, creative nonfiction editor Rowan McCandless, incoming poetry editor Phoebe Wang, incoming fiction editor Saleema Nawaz and advisory editor Shannon Webb-Campbell.
This special issue is meant as an opening, extending the invitation to BIPOC writers to transform the content and spirit of The Fiddlehead far beyond a single issue; this issue is a commitment to transformation and accountability.
***Please note, submissions to the BIPOC special issue will be limited to racialized writers residing in the area known as Canada (citizenship not required). We will politely decline international submissions received during this reading period.***
•A short fiction submission should be one story, double spaced and maximum 6,000 words. Unless a story is flash fiction (under 1000 words), please send only one story per submission. Please specify at the top of the first page the number of words in the story submitted. For flash fiction, we accept up to two stories per submission. If submitting two, please include both stories in the same word document and ensure that the second story begins on a new page with the title included to mark the beginning of the new story.
• A poetry submission may be single-spaced. Please submit no more than 6 poems per submission, and no more than 12 pages total. No more than one poem on a page. If a poem runs more than one page, please put the poem’s title in the headers of the additional page(s) and make sure the pages are numbered. The Fiddlehead prefers to accept several poems by the same author; please do not limit your submission to a single poem.
• Creative nonfiction (CNF) is construed widely and can include personal essays, narrative non-fiction, think pieces, etc. Check out the Creative Nonfiction Collective Society’s definition here. Submissions in this genre should be double-spaced and maximum 6,000 words. Unless a CNF work is very, very short (under 1000 words), please send only one work per submission. Accompanying images may be considered, but permissions for the images are responsibility of the author and must be arranged beforehand.
• Excerpts from novels and scenes from plays are occasionally accepted, but short fiction, poetry, and creative non-fiction are the preferred genres. Excerpts from novels should be double spaced, while play excerpts may be single spaced. Novel excerpts should be no more than 6,000 words, while play excerpts should be 10 pages max.
• Translations of creative work are also considered and occasionally published. With these submissions we need a copy of the text in its original language and a copy of a permissions letter from the copyright holder (usually the author or the original-language publisher).