Lavonda,
Point of correction. I never solicited publishing material from you; you pressed them on me. MTLS has a publishing mandate, and we follow them, that's all. One good alternative to our ineptitude as highlighted by you is that you can start a literary journal yourself as i did. It is easy. There is no need for quarrels.On 27 August 2013 07:50, La Vonda R. Staples <lrstaples@gmail.com> wrote:
Chidi,I stated my opinion. What you just gave was your opinion of what my opinion is. I don't understand and it is rather amusing to me how I can write one thing and entirely different thing is assumed. I wrote:1. That Ama is more than capable of re-producing the success of George Plimpton produced with the Paris Review.2. That Ama had more than enough of a pool to choose from and the additional boon of being able to choose from a pool of writers who were his countrymen, his ethnic group, and who shared his traits, phenotype.3. That the writers Ama has chosen share characteristics such as gender and "race" to a very high percentage.4. That, for the most part, I do not like the work produced by Ama's "girls."4a. Because they show very little real world experience of or experiences which are universally shared by women without regard to socioeconomic strata: child birth, children, pursuit of success in fields which are populated, in general, by men, and perhaps facing the years when one is no longer young and fertile.4b. Because they appear to be written by women who seem to spend an inordinate amount of time with persons who agree with them or do not disagree with them (all writers are arm-chair psychoanalysts).5. That Ama seems to be racially unaware as evidenced by his apparent unwillingness to at least choose some, a few, a couple of Black American or African writers who are not established or who would not have name recognition to present in his journal.5a. There were examples from two persons one Black American woman (me) and Nigerian male (Ikhide) with allegations of fickleness and disorganization which did not end in publication of our work. In my case, Ama asked me to submit. I did not ask him.6. I never said anything personal about Ama,his writing, the writers in journal. I made a comment about how he works, who he chooses to publish and about the work he chooses. All are fair game and are not personal and I refuse to believe that I'm the first person who has made these statements. I refuse to believe that no one else has never made a blanket assessment of the literary presentation of the journal.I don't have any money to give Ama. I gave him something better: Good, sound advice. He didn't mine it for the gold. He looked at the ground and pronounced it too hard and never bothered to pick up a shovel. Very rarely will someone come preface the lifeline by sitting you down, giving you milk and cookies, and cooling your sensitive rear with talcum powder. I will say it again and I can give advice (take it or not, you didn't take it, you chose to make negative personal comments about me and you even had the great Chidi carrying water for you) on this one because of my experiences with graduate women who are either gallery managers, journal editors, artists and writers. It is very much okay to choose writers with a questionable amount of talent as long as they have connections who will financially heed a financial call when it is sounded. Ama made the mistake of selecting writers who have absolutely nothing to offer in the area of talent or remuneration (evidenced by his call for funding). In example, one of my girlfriend's produced an "uptown/downtown" theme. She needed funding. She needed to play successful politics. One of the artists was talented but not on the level of what was usually presented, came from money, young, white and female. The other artist was a ghetto star! No money, black, male, and controversy should have been this person's middle name. One event. One night. The rest was history.Lean not to your own understanding....La Vonda R. StaplesThank you for continuing to amuse me!La VonaThat's all I said. Nothing more and nothing less. All very valid points to me.On Tue, Aug 27, 2013 at 4:07 AM, Chidi Anthony Opara <chidi.opara@gmail.com> wrote:
At the heart of this La Vonda reaction is the question of whether publishers and editors are under any obligation whatsoever, to publish all materials submitted, no matter how good and what theme the material is treating.I am of the opinion that not publishing one's material should not generate this La Vonda kind of reaction. Journals have their editorial policies and it is the job of the editors to see that such editorial policies are adhered to; if in the opinion of the editors, any material submitted did not fit into the editorial policy(cies) of the journal, so be it.Some persons here have sent materials to chidi opara reports which were not published, interestingly, they kept sending and some have been published, while some have not been published.Also, all of us here must have at one time or the other, posted materials which were dear to us, which were not published, and life have been going on.I do not submit my poems to journals and/or for awards(with the exception of Africanwriter.com and Africaresource.com), my position is that if a journal publisher and/or editor or member of any award committee comes across my poems and likes them, he/she can ask for permission to use them. However, those writers who have contrary position should be ready for La Vonda's type of experience. They asked for it, they should take it with calm.CAO.On Mon, Aug 26, 2013 at 8:49 PM, Akurang-Parry, Kwabena <KAParr@ship.edu> wrote:
Ken:
You have now filled gaps in your otherwise unclear response. It is obvious from what you have raked up that your field and mine are miles apart when it comes to "agenda-setting" so let us agree to disagree.
(Professor of African Studies & World History)
Dept of History/Philosophy
Shippensburg University
Shippensburg, PA 17257
USA
Phone 717 477 1286
Fax 7171 477 4062
From: usaafricadialogue@googlegroups.com [usaafricadialogue@googlegroups.com] on behalf of kenneth harrow [harrow@msu.edu]
Sent: Monday, August 26, 2013 2:09 PM
To: usaafricadialogue@googlegroups.com
Subject: Re: USA Africa Dialogue Series - Support for Maple Tree Literary Supplement
dear kwabena
i didn't say that hegemonic practices were irrelevant; i actually wrote that they cut in more than one way. i could cite journals where one approach is privileged, and others where opposite approaches are privileged.
what baffles me is why you state i am patronizing when i wrote that i know "better than most" that poststructuralist and psychoanalytical criticism are subject to criticism because i have had my works attacked precisely for those reasons. others not writing in those areas would not be particularly aware of or sensitive to that set of exclusions.
i am not questioning your experience or field--i don't know how the hegemonic paradigms work there. i would be surprised that being african or non-african determines what new questions become acceptable, but if that has been your experience, i take your word for it.
the question"who gets to determine what is an intelligent use...." is an interesting one.
i doubt my answer would be the same as yours because it has not been the case in my field--literature and cinema--that non-africans are determining the agenda. if anything, what are the first names that spring to mind as major figures in my field? olaniyan, quayson, gikandi, mudimbe, adesanmi, adejunmobi; in film ukadike, okome, etc. you'd be hardpressed to find a non-african name emerging, although there are of course people like eileen julien, larkin, haynes and others who are vaguely to be defined as non-african. that distinction begins to break down as scholars i am citing, be they african or not, have been located in the american academy for much of their career. even mbembe falls under that rubric--s african and vanderbilt.
who sets the agenda? not an easy question. i'll just throw out a few thoughts:
editors select readers, but it isn't easy to get major figures in the field to spend the time reading mss, so it is often junior faculty. they are often influenced by the major scholars under whom they studied, and then what they encounter in publications or conferences. there is a range there, but trends emerge. it is not my belief that those trends can be explained by a hegemonic intellectual cabal. why do texts like those of bhabha, spivak, and then mudimbe, and then mbembe, become so dominant? why do they fall away with time, to be replaced by others with quite different approaches?
i am particularly impressed by the work of gikandi. but at the last asa meeting, when we had a panel on his latest book, it came under fire quite a bit.
it just isn't easy to explain how and why a text, an approach, a set of approaches, become dominant.
ken
On 8/26/13 10:50 AM, Kwabena Akurang-Parry wrote:
Ken:--
So hegemonic practices regarding publications exist, yet they are irrelevant. I am not sure I understand your settlement for postructural criticisms and psychoanalytical excursions here! Ken don't patronize me by writing you "know them better than most." You "know" it. I have "experienced what I wrote about: papers are rejected simply because one asks new questions that disputes the works of a whole generation of non-African historians' staple conclusions. In my case, I made a a case that there were African abolitionists in the Gold Coast long before the British came up with their hapahzard abolition policies. Hitherto abolition agency in Africa has been credited to non-Africans. Do you know how my paper was battered by the powers that be. Of course agenda setting cut both ways, but who gets to set the agenda in African Studies and who has the power to ensure that their agenda is sustained and marbled?. You know whose hegemony is the subject here. I was clear and bold: "For those of us who write in the areas of slavery/abolition and colonialism previously dominated by non-Africans." Of course, "an intelligent use of any critical tool should be useful;" That is what we all expect as an inclusionary approach. The inconvenient question is who gets to define "what is an intelligent use of any critical tool"?
Date: Sun, 25 Aug 2013 23:07:08 -0400
From: harrow@msu.edu
To: usaafricadialogue@googlegroups.com
Subject: Re: USA Africa Dialogue Series - Support for Maple Tree Literary Supplement
hi kwabena
that is certainly true, but complicated, isn't it. i have worked for some time in psychoanalytical theory and criticism, and for many reviewers and africanists, that is anathema. i am not unaware of the arguments involved; i know them better than most since the arguments about what is properly to be applied to african studies or not, whether western theory is appropriately applied to african studies, has been a central issue for many years.
so the hegemonic politics and agendas to which you refer have often worked against those who have sought to use poststructural criticisms or psychoanalytical. now both of those areas are dated, so the argument is irrelevant.
my own position is that an intelligent use of any critical tool should be useful. i also concede that hegemonical practices can cut in the other direction, and a naive grad student who has absorbed some poststructural theorist and uses it with little understanding of the context can impose an irrelevant reading on a text.
it cuts both ways.
in a way the question can be posed, whose hegemony are we talking about. is it centered in some location that is largely ignorant of, unconcerned with, african studies, and blithely assumes its own tools are good everywhere, in all circumstances, or on the other hand, is it a field like african studies that wants to put up a wall and refuse anything that seems to be outside those walls. and of course african studies isn't monolithic. but wall-building is a real issue, going back to the 80s at least.
ken
On 8/25/13 8:50 PM, Akurang-Parry, Kwabena wrote:
Ken,--
Timelines and length of time aside, there are also hegemonic politics and agenda setting involved. For those of us who write in the areas of slavery/abolition and colonialism previously dominated by non-Africans, it is not uncommon for an article to be rejected or put through the mill of perennial revisions by being asked to consult that book/article or revisit the archive to revamp paucity of evidence simply because the article poses new questions and disputes staple hegemonic conclusions.
Kwabena
From: usaafricadialogue@googlegroups.com [usaafricadialogue@googlegroups.com] on behalf of kenneth harrow [harrow@msu.edu]
Sent: Sunday, August 25, 2013 12:25 PM
To: usaafricadialogue@googlegroups.com
Subject: Re: USA Africa Dialogue Series - Support for Maple Tree Literary Supplement
dear all
as usual, i love the world of african lit, and the ways those on this list bring us to its immediacy and importance. lots of people who contribute to discuss history, politics, economics, show their strengths in those fields, and can have great debates. but i think there are fewer lit people, so i really get excited by a discussion of the sort ikhide is presenting below in response to lavonda's posting.
i want to add 2 cents here.
there are two different kinds of journals in our field: those that publish literature (short fiction, poetry, or essays), and those that publish literary criticism (like research in african literatures, for example). some do both, and the line between creative fiction, essays, and critical research can be blurred. but in the case of the latter--which is the only area i know well--when an article is submitted, it has to go through peer review--say 2-3 reviewers. if you have labored over a piece for a year or more, and then submitted it, you will feel that it is cutting edge if it contests the issues in your field being discussed in print or at conferences. to wait is to feel it is getting stale.
but on the other side, if you are asked to review a piece, and say, get it back in 6-8 weeks, the chances are you will have to find the time between preparing for class or grading or trying to write your own conference paper, or maybe write your own article or book.... it isn't always easy. it might take a while. i just agreed to review a book i want to read, but said i couldn't promise it before next december, and the journal editor agreed. she understood these constraints.
let's say one reviewer gets it done in 8 weeks; the second is swamped, feels guilty, etc. the journal editor scrambles to find another reviewer, and has to give that person time. etc
anyway, let's say it is accepted, but with revisions. (if it is rejected, you revise, and resubmit somewhere else, and wait again). the reviewers have to see the revision. i am trying to explain why a wait of 6 months on an original article before acceptance is not unusual. then what? the journal has to plan its issues 6-12 months ahead of time. we are now saying that the whole process, if you are lucky enough to get an acceptance, might take up to 2 years. your fresh original piece? it is still great, but in your mind begins to feel dated. it might be on material you had researched and started writing about 3 years ago. that is not unusual....
well, to get us ahead here, there is only solution that i see. that is to turn to digital publications, like ikhide's blog, where he can say yes or no, and if yes, get it on line right away. others are quarterly, but even then, you don't wait for the lengthy and costly paper version to get in print.
if nollywood showed us what digital can do for the movies, on-line publications have to be the future for our work. scientists already do this. we should as well
ken
On 8/25/13 11:30 AM, Ikhide wrote:
--" You have in your hands a unique opportunity to print some of the greatest writers I've ever read. Do you truly believe you're doing anything new by publishing Soyinka? Please! He was doing YOU a favour and not the other way around. Soyinka doesn't need you or anyone else. Here's the central point to my commentary: you could bring to the fore people who could be, one day, as great as Soyinka yet you adamantly refuse to take a chance on any work which is not submitted by someone who happens, far too often, to be young, White and female. That's the truth and it is without mar for the facts are in black and white every time you publish."La Vonda Staples commenting on Amatoritsero's stewardship of the journal, MTLS
Interesting commentary by La Vonda. I apologize for being tardy in responding to this but I have a few thoughts that I'd like to share.First of all, the house should extend hearty congratulations to Amatoritsero Ede on being longlisted for the increasingly prestigious NLNG Prize for literature (2013). I wish his book Globetrotters and Hitler's Children the best of luck.Back to La Vonda's issues with Amatoritsero and his stewardship of the Maple Tree Literary Supplement (MTLS), Amatoritsero and I rarely agree on much of anything, we have deep philosophical and political diferences on most matters.If Amatoritsero is not responding professionally and promptly to submissions, he should. My one experience with him was similar to La Vonda's. I turned in a poem to him and after not having heard from him for quite a while, I inquired from him and he responded nicely that he doesn't do prose-poetry, something to that effect. He seemed busy and distracted. My poem was published elsewhere by an outfit that seemed delighted to see my verses. Previously, I had been featured just once on MTLS - a review of his book of poetry, Globetrotters and Hitler's Children (read my review here). After that experience, I never went back to MTLS. It wasn't on purpose, I wasn't offended, it is just that I have never felt that there was a shortage of outlets for my work. I also started my own blog which works wonders for me. Much of my work is topical and I need my pieces to go out immediately, most of the time. The blog helpd me in that respect.In fairness to Amatoritsero, most of these literary journals I have found from my experience, are oufits fueled mostly by passion, intellect and an army of volunteers. It takes 6-8 weeks to hear from even the best of them by which time if your piece is topical, you are out of luck. This has been my experience with Eclectica and Guernica. Eclectica just published a piece of mine that I had sent to them and Guernica at least 8 weeks before. I had actually forgotten about the essay, until this one week it was approved for publication by both outfits. I won't be doing much of that any time soon, life is too short for all that. I am not defending Amatoritsero's tardiness, I am just saying that it is fairly common.Amatoritsero does have a reputation for being finicky. When he ran Sentinel online, he once interviewed this highly regarded poet and declined to showcase any of his poems on the same publication, saying he didn't really see any that he could use. His demons are rich.La Vonda's complaints do give the impression that Amatoritsero has not been supportive of budding writers. That is quite honestly untrue. He has run the pioneering and trailblazing listserv krazitivity since at least 2005. That listserve has been variously a virtual workshop and a feisty playground for all comers from Adichie to relative unknowns like Elnathan John and Richard Ali. I know that because I probably would not be the Ikhide today without the pioneering work and support of Amatoritsero's group of writers, many of whom are being honored on the NLNG longlist this year. They are relatively unknown and I am not going to bore you with their names. However they remain quietly influential in shaping the trajectory of African literature in the 21st century using digital media. Amatoritsero Ede has distinguished himself as a hard-working leader in that respect. I ask you to go and read Sentinel Online, the magazine he edited for many years. That magazine raised many African writers, and yes, a few other writers from elsewhere. Amatoritsero has always had an eye for World literature, which IMHO is a strength.Back to MTLS. I do read Amatoritsero's editorials. They are brainy and thoughtful and in many instances extremely important. I also enjoy reading all the other folks from the other cultures, because it is convenient for me and forces me to broaden my outlook beyond what I normally only do - read contemporary African literature.Final tip to a writer wishing to submit to a journal. Spend some time reading the publication, see what is being offered and weigh whether yours would be a good fit. Many times, that you are rejected does not mean your writing is sub-par, it could only mean it doesn't belong there. It is a free world, go elsewhere, start your own blog, etc.Anyway, La Vonda, we love you, still. No shaking. See you on the other side of the river...- IkhideStalk my blog at http://www.xokigbo.com/Follow me on Twitter: @ikhideJoin me on Facebook: www.facebook.com/ikhide
From: La Vonda R. Staples <lrstaples@gmail.com>
To: "usaafricadialogue@googlegroups.com" <usaafricadialogue@googlegroups.com>
Sent: Wednesday, August 21, 2013 3:08 PM
Subject: Re: USA Africa Dialogue Series - Support for Maple Tree Literary Supplement
Do you honestly think I included Soyinka in that number? However, my point remains valid since your Soyinka's are very few and far between. I knew you would not put on your big boy pants and see my comments for what they are and nothing else: solid, credible criticism. As far as sending to your personal email and the obvious submission channels? You and I know all too well how many times you have lead me 'round the mulberry bush with that mess. On one occasion I sent my work to all three channels simultaneously and yet you still said, "I didn't get it."
Apart from all that I remain steadfast: You have in your hands a unique opportunity to print some of the greatest writers I've ever read. Do you truly believe you're doing anything new by publishing Soyinka? Please! He was doing YOU a favour and not the other way around. Soyinka doesn't need you or anyone else. Here's the central point to my commentary: you could bring to the fore people who could be, one day, as great as Soyinka yet you adamantly refuse to take a chance on any work which is not submitted by someone who happens, far too often, to be young, White and female. That's the truth and it is without mar for the facts are in black and white every time you publish.
La Vonda--
On Wed, Aug 21, 2013 at 8:29 AM, Amatoritsero Ede <esulaalu@gmail.com> wrote:
Lavonda,
Thank you for your love letter. Critique is necessary, however It could have been couched in a more constructive tones. In your own words, this is "mean" and it is "sour grapes." You cant sanitize it. I told you in the past not to send material to my personal email directly but through the online submissions page of the MTLS. In that way it gets the proper attention and goes through the manuscript processing channels. It is not easy to keep track of things while writing a doctoral thesis and trying to finish the PhD, if you sent stuff directly to me it that situation it will 'get lost' inside my mail because i was distracted. You are a scholar too, so i am sure you know how hectic and absorbing academic work can be.
As for rubbish material that we publish... amongst that rubbish you will find an essay by Wole Soyinka, and a long poem from him. I suppose Soyinka also writes rubbish as does the stellar Canadian Poet, George Elliot Clarke, whose work we also publish. And the racial politics you allude to does not work since this is ostensibly a 'Canadian journal.' We have only about 10 percent international content. If you have material for MTLS all you should do is send it through the proper channel and it will get the proper attention. Hope you are having a great day.
regards
Amatoeritsero
On Tuesday, 20 August 2013 22:41:41 UTC-4, La Vonda R. Staples wrote:What I am going to say to you may sound mean and you might decide to be wrong and assume it is sour grapes. I have spoken and to Ama and also submitted work many times only to be told that it wasn't up to par, it has been lost, or never received.
You have a chance, as the editor of a literary magazine, to print ONLY good writers and great works. You chose to publish some of the most mediocre pablum I've ever had the displeasure to read. At times, when I looked at the number of women you published, I suspected that you were using some physical ideology in selecting who and who would not be published. And I will come outright and accuse you of pandering to some inflicted psyche in your choosing. I. e. if it isn't what Europe says is good it isn't any good at all. You seem to shy away from publishing any work or even interviewing any author with an ounce of real life under his/her belt and therefore, work which could cause an emotive spark.
Publish real writers and stop pandering to those who would sanitize language and force all culture into a vanilla paradigm and you would soon have a text which would rival the Paris Review. Through USA Africa Dialogues you interact with writers who make my scribblings look like kindergarten drawings and yet you do not even court an interview. How many books have been published by folks on Dr. Falola's internet salon? How many auteurs patronize Oga Falola's sweet little electronic suite? And yet you choose to seek and bring to the fore, with regularity, a bunch of insipid White girls who only fancy themselves to be what they are not. You encourage them in their folly. If they could write, if they had something to say, their gender and color wouldn't be a blip on my radar. But since they cannot write and you seem dedicated and resigned to publishing this single demographic these things cannot help but become glaring facts.
Publish real writers! Interview real artists! One who mines gold doesn't have to beg for his supper as one who seeks wealth from empty and vapid holes.
La Vonda R. Staples
On Tue, Aug 20, 2013 at 1:14 PM, Amatoritsero Ede <esul...@gmail.com> wrote:
Folks,
Due to funding cuts by the Arts council, we have decided to consider a public fundraiser in order to maintain our publishing standards and retain our goal and vision. We have initiated an crowdsourcing campaign at indiegogo.com. Here is our campaign page link: <http://igg.me/at/MTLS-1/x/3977058>. Kindly support, contribute, and circulate. Thanks.
regards
Amatoritsero
http://igg.me/at/MTLS-1/x/3977058
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"If your dreams do not scare you, they are not big enough."Ellen Johnson Sirleaf, This Child Will Be Great; Memoir of a Remarkable Life by Africa's First Woman President.
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--La Vonda R. Staples, WriterBA Psychology 2005 and MA European History 2009
"If your dreams do not scare you, they are not big enough."Ellen Johnson Sirleaf, This Child Will Be Great; Memoir of a Remarkable Life by Africa's First Woman President.--
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