Issue 5: Passing
In this issue, we will explore notions of passing. Passing—as, off, by, through, on, up, out, away. One thing as passing as another, an area of contention throughout history, continues to be relevant to our passing moment. Issues of passing surrounding race, nationality, gender, and sexuality come into stark focus with the passing of prejudicial laws and forceful prevention of passing through borders. “Passing” carries multitudes of meanings and contexts. What does passing mean to you?
How often do individuals have to “pass” to feign a social construct for their survival? Some benefit from it, others don’t have an option. From sexuality, gender, ethnicity to religion—What does it mean to and for someone to “pass”?
We pass up opportunities for connection, for deep happiness, in favor of remaining at a passing-glance, surface-level existence; in favor of passing. Passing can be not just an act of safety but an embodied loss. How do we decide when or whether to let ourselves pass? When is it necessity? When is it cowardice? When is not passing worth it?
How do beliefs pass through generations? Consider what we pass down—genetics, behaviors, ideology. How much can be found in our genes? What of stories?
The optic nerve passes information from the eye to the brain. Sensory mechanisms are only one of many kinds of passing to be found in living bodies. Osmosis, digestion, respiration, death, disease—explore the body as a site of passing.
The passing of time. The slippage of ephemera into histories both personal and global. What is time? What is history? Is the passing of time an illusion? What impact does it have on the psyche? Does perception of time as linear and fleeting create more anxiety-driven, fast-paced lives? How do we physically sense and/or mentally perceive time?
That ever-present euphemism, “passing away”—the transition from life into death is arguably the most important passage we’ll ever take. What is there to explore in that liminality?
Submissions close April 7th, 2019
Issue 4: (in)Tangible
When we think of something as tangible, we often refer to the physicality of the thing—whether or not it is observable, touchable, within reach. But how about emotions, ideas, concepts, etc.? We use the word “heartbroken” to describe loss, and while that is an emotional construct, there can be physical consequences of grief, such as Takotsubo cardiomyopathy, when the muscle of the heart itself weakens.
Anastamos is looking for work that resonates in what we assume is a tangible world. Work that provokes observed reactions: for its ability to shock, inspire, raise questions, and, more importantly, to answer them. From suspicion, to revelation. Full bottles of wine to empty ones. Tell us your stories. Make them tangible.
How do nightmares, daydreams, pieces that loiter at the crossroads of material and immaterial reality, make the transition from the psyche to a text?
As our digital world continues to expand rapidly, political narratives are ever changing. How then is the subtext of rhetoric translated into tangible consequences?
Money, often no longer something you can hold in your hand, continues to dictate our lives. How do the numbers—the DJIA, projected market values, financial growth analysis—that are concrete in theory, yield unpredictable results?
How does science make tangible for us the folds of mitochondria? The rings of Saturn? The architecture of mud swallow nests? Ancient ceremonial rites of passage? The sociology of a shopping mall food court? The politics of a bread line? Global movement, evolution, the social systems of man—where do these fundamental elements of life become material? How do they manifest?
If language is a complex network of signs, words linked by intricate webs of immaterial relationships, is there anything tangible about the way we communicate with one another? Are our physical acts—our bodies located in proximity to one another, a handshake, sex—more than just the touch?
Submissions close October 10th, 2018
Issue 3: Dis/Order
We live in a world frequented by sets of binaries. One such set is between order and chaos, or as we are naming it for the third issue of Anastamos: DIS/ORDER.
We seek submissions that explore the complex relations that come out of this deceptively simple set. Disorder is often bound up in deterioration and decay, but through this decline life emerges, new opportunities swell. Structures change and order and sense are inlaid upon a new world. Tell us about the order of things, probe the structures and boundaries of your work.
How does history move? By the chaos of political unrest or the rule of law and passage of legislation? Is it valid to consider history a story, or is it merely a very human attempt to label the chaos? What gets lost in the his/her-stories that we tell ourselves?
How do disorders of the mind and body affect the other minds and bodies around them? How do definitions and categories of “mental disorders” help and hinder health?
Can entropy be reversed? What structures become present because of the inherent decay of life and matter itself?
How can disjointed narratives provide an accurate representation of life that feels far more truthful and orderly than at first glance? Is postmodernity’s skepticism of truth a kind of order itself, and what has that done to peoples and cultures of the postmodern age?
Submissions close March 23.
Issue 2: Fluidity - Completed
This Fall, we’re interested in exploring FLUIDITY as the theme of the next issue of ANASTAMOS: as physical phenomena, as psychic vacillation, as malleable substance.
Fluidity is the ability to adjust and change, but it is also not possible to imagine movement without the architecture of form, which often creates obstacles. However, though the shape of water flowing down a mountain is created by the terrain, the water also erodes and shapes the mountain itself. For this issue we want to see work that takes on the changing state of affairs in our world, from the personal to the philosophical to the political.
Send us your best interpretation of FLUIDITY.
– How does the concept of fluidity engage with issues of of intersectionality, diversity, racial and ethnic identities, gender, and sexuality?
– In these days of “alternative facts” and “fake news,” is there fluidity of truth? Or by simply asking the question do we question the basis of a shared reality?
– How do we approach the idea of mental fluidity, or a fluidity of consciousness? As we age, how is it that we feel that we stop aging mentally but continue to age physically? Is Alzheimer’s or dementia a state of mental fluidity? What is mental illness? Is there such a thing as delusion and sanity?
– Language is inherently fluid, with the structure of language standing for the communication of information and meaning. How might we look at ESL learning as opposed to the idea of a “native tongue” in terms of fluidity? Or translation as a fluid space of engagement?
– In what way do the sciences engage with the concept of fluidity? What implications are there for matter being in a fluid, or even superfluid, state? How does the precise chemical makeup of water in our oceans allow for the diversity of sea life on Earth?
What might we find if we eventually fly to Enceladus or Europa and dig through their icy surfaces to the oceans beneath?
Issue 1: Fear - Completed
As humans, we come hardwired to be afraid. Fear impels us, regardless of our desire to master it. Whether we want it to or not, it motivates us. Fear is paradoxical: it both drives and paralyzes. It can unify or divide. It builds nations and tears them apart. Fear comes from outside of us, or from within.
Why are we still afraid of the same things we’ve been afraid of for centuries? How is it that we as a species and civilization have not been able to overcome these primal instincts?
We’d like to encourage exploration of various lines of creativity, thought, and research on fear. As an interdisciplinary journal, we want to cultivate an atmosphere where learners can open lines of communication and conversation across disciplines to create work with unexpected results.
Some points of inspiration could be:
-Why are we afraid? Why are you afraid?
-How do we use fear to better ourselves; how does fear hold us back?
-How is fear expressed in the markets?
-What are different ways that fear affects the brain?
-Why do phobias fascinate us and why do we have them?
-How has fear affected the course of history?
-How do we fetishize fear in our culture?
The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.
Open to graduate students and professionals
Interdisciplinary submissions by multiple authors in multiple fields more than welcome, including those which do not fall neatly into a single category below. Submit to that which most closely matches your intentions for the piece.
- Fiction: 5,000 words maximum (anything longer, send query), double-spaced, 12pt font, remove author name from document
- Non fiction: 5,000 words maximum (anything longer, send query), double-spaced, 12pt font, remove author name from document
- Academic Papers: 5,000 words maximum (anything longer, send query), double spaced, 12pt font, remove author name/s from document
- Poetry: 5 poems maximum of any length: compile poems into single document, remove author name from document
- Video: 30 minute maximum for video content (anything longer, send query)
- Visual Art: 5 pieces of visual art maximum
- Name must not appear on the work document to ensure blind reading
- Cite sources and use formatting as standard to field or discipline
- Academic work will be double-blind peer-reviewed
- Cover statement with brief bio required
- Title must be on each page of the work; pages numbered
- Include the discipline(s) in the title of the submission
- Work must not have been previously published
- Send written work as Word or PDF document
- Simultaneous submissions are accepted, but please inform us if your work is accepted elsewhere
- We retain first North American publication rights. After publication, all rights return to the author.
- If your work is published elsewhere after it appears here, we ask that you credit Anastamos as the place where it was first published.
- We retain the right to choose the thumbnail and header image for the piece on the website.
- Please submit only once for each issue.
- If your work is accepted for publication, please wait a year before submitting again.