Essays About Places

Essays About Places-3
As promised two weeks ago, I’ve compiled what I am calling here a guide to journals and magazines that publish flash nonfiction/micro-essays.Before I present the list, I need to issue a few clarifications and caveats.If you know of a journal or magazine that’s specifically interested in flash nonfiction and micro-essays that should be added to the list, please share your knowledge (bonus points for links, too) in comments.

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“You know,” Chui began, “you’re writing a book.” I didn’t understand. For the past two years, I had been working on a novel set along the Turkish-Syrian border and that manuscript was now with my editor.

While writing that book, I’d also been working as a freelance journalist for a few newspapers and magazines, filing dispatches along the way.

This intellectual engagement with important contemporary issues is a mark of Grenville’s fiction, testament to her own analysis of the vital role of writers in uncertain times.

She has suggested that “writers have ways of going into the darkest places, taking readers with them and coming out safely.” This volume attests to Grenville’s own significance as a writer in a time of change and to the value of her novels as indices of that change and in “lighting dark places.” Sue Kossew is Professor of English at Monash University.

I have, at times, been asked how the wars changed me. Unconsciously, that had become the arc of my journalism and it became the arc of my book, which became Places and Names: On War, Revolution, and Returning.

And, of course, the dedication of that book reads: “For Chui, who told me to write it.” , among other publications, and his stories have been included in The Best American Short Stories series.First, this list by no means includes *every* journal or magazine that might publish your piece of flash nonfiction.For the most part, I’ve omitted publications that specify only that submitted essays should run “no longer than” or “up to” 5,000 or 8,000 words.I had no idea that I was writing a book, let alone a memoir.I had already been covering the wars in Syria and Iraq for a couple of years when I found myself in London over a weekend with my girlfriend, Lea, whom everyone calls Chui.“When he wrote about the French Revolution,” Chui said, “he wasn’t really writing about France. It was one of those perfect blue-sky summer afternoons where the clouds pass overhead with just enough frequency to give you an occasional break from the sun. James Park, they have cloth-backed deck chairs that are left out for the public.He used the French Revolution as a way to write about Britain’s failure in the American Revolution 10 years before.” Then she gave me one of those looks, the type women often give men when they know more about them than they know about themselves. Chui and I sat next to one another in a pair of them.More recently, she has written novels set in Australia’s past, revisiting and re-imagining colonial encounters between settlers and Indigenous Australians.This collection of essays includes a scholarly introduction and three new essays that reflect on Grenville’s work in relation to her approach to feminism, her role as public intellectual and her books on writing.Chui wasn’t talking about the novel; she was talking about those dispatches. I had spent most of my twenties and some of my thirties fighting in Iraq and Afghanistan.In my journalism, Chui could see that as I was attempting to understand the trajectory of events unfolding inside of Syria, I was, in tandem, wrestling to understand events from a decade before, during my own wars. “Burke didn’t write about the British disaster in America by taking the topic head on; instead, he wrote about another revolution to understand the failures of a decade before.

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