Kahini Weekly

Kahini Weekly delivers, quietly to your email in-box each week, a new work of literary art alongside a new interview with an essential, contemporary writer.

Artistic Work  |  Interviews  |  Subscribe  |  Submissions  |  About
Untitled

 

Artistic Work

If You Stop For a Moment, You’ll Realize You Can’t Hear the Singing
Kelli Russell Agodon
April 14, 2021
Untitled

 

Fish
Sam Roxas-Chua 姚
April 7, 2021
Untitled

 

Starting With Shrubs And Ending With Wonder
Nome Emeka Patrick
January, 2021
Untitled

After an Older Man from Church Drunk-Texts to Tell Me I Looked Good Topless in His Dream Last Night
Katie Manning
January, 2021
Untitled

Plot With Bobi Wine & His Wife On January 16, 2021
Nome Emeka Patrick
January, 2021
Untitled

They Say I Get My Cheekbones from My Father’s Side of Family, My Feet from My Grandmother Who at Fourteen Started Treading Great River Gully
Yashika Graham
October, 2020
Untitled

Made of Air
Wayne Lee
October, 2020
Untitled

Beyond the Marina
Purnima Bala
October, 2020
Untitled

black has every right to be angry
Ashley Elizabeth
July, 2020
Untitled

A Gatsby Story
Amina Gautier
July, 2020
Untitled

Lessons in Kinyarwanda
Lee Gulyas
July, 2020
Untitled

sheillahOur Voices
Sheillah Abaho
April, 2020
Untitled

This Balcony I Sit On
Nicholas Samaras
April, 2020
Untitled

 

Selfie
Andrea Walker
April, 2020
Untitled

evaSociety Mimics
Nandutu Eva
January, 2020
Untitled

greenwellPoem
Western Illinois Tug-of-War League
E. A. Greenwell
January, 2020
Untitled

Arborist / Abortionist
Susan Rich
October, 2019
Untitled

Dendrochronology
Amy Karon
October, 2019
Untitled

A Day of Thrush Songs
Anita K. Boyle
October, 2019
Untitled


The Promise of Apocalypse
Allen Braden
July, 2019
Untitled

The Uses of Color
Jaya Spier
July, 2019
Untitled

Furnace
Michael Daley
July, 2019
Untitled

Falling Light
Lorraine Ferra
April, 2019
Untitled

What Was He Thinking My Grandfather
Samuel Green
April, 2019
Untitled


Catholic Church
E.A. Greenwell
April, 2019
Untitled

the restlessness of cattle
Toni Hanner
January, 2019
Untitled

Hexagrams 44
W. Nick Hill
January, 2019
Untitled

Making a Fire
Betty Kaigo
January, 2019
Untitled

To Live
Elegy
Ilya Kaminsky
October, 2018
Untitled

Thirty-Two Dead, Eighty Injured, in Nigeria Market Blast
Ssekandi Ronald Ssegujja
October, 2018
Untitled

Miscarriage
Jenifer Browne Lawrence
October, 2018
Untitled

Play of Light
Wayne Lee
July, 2018
Untitled

 

How We Count in the South
Erin Belieu
July, 2018
Untitled

Sacrament
Jenifer Browne Lawrence
July, 2018
Untitled

Postcard to My Aborted
Jenifer Browne Lawrence
April, 2018
Untitled

One Art
Wayne Lee
April, 2018
Untitled

Café At The End Of Time
Gary Lemons
April, 2018
Untitled

Because a Baby is in One Arm
Rachel Mehl
January, 2018
Untitled

A Hole in the Ice
Dream Fragment on the Eve of My Beloved’s Wedding
Timothy Liu
January, 2018
Untitled

Unsleeping, 3:25 am
Timothy Liu
October, 2017
Untitled

Tableau d’Haiti
Tim Mayo
October, 2017
Untitled

Driving to Work on a Thursday in October: Tonight You Will be Camping at the Coast
Rachel Mehl
October, 2017
Untitled

Walking a Friend Through, and Finally Out Of, an Abusive Relationship
Wairimu Mwangi
July, 2017
Untitled

Ceilings
Nancy Pagh
July, 2017
Untitled

Shadow
Tish Pearlman
July, 2017
Untitled

Afterlife
Tish Pearlman
April, 2017
Untitled

Moths
Paul Piper
April, 2017
Untitled

The Constellations of Slate Belt, Pennsylvania
Sean Prentiss
April, 2017
Untitled

 

Postcard From the North Shore
Tamara Sellman
January, 2017
Untitled

The House of Nails
Sayantani Dasgupta
January, 2017
Untitled

Flies
Bill Ransom
January, 2017
Untitled

Beach Peas
Cake and Bread
Lois Rosen
October, 2016
Untitled

Quiet
Michael Schein
October, 2016
Untitled

 

Tonight
Ssegujja Ronald Ssekandi
July, 2016
Untitled

Dakini with Flutes at Ugyen Choling
There is Nothing You Cannot Ask of Me
Kim Stafford
July, 2016
Untitled

The Cu Chi Tunnels
George Such
April, 2016
Untitled

A Note to the Dead
Meredith Trede
April, 2016
Untitled

How She Comes to Understand Her Baptism
Maya Jewell Zeller
April, 2016
Untitled

My Mother aznd I Visit the Place She Gave Birth
Bedtime Story
Maya Jewell Zeller
January, 2016
Untitled

To Have and To Hold
Charisse Flynn
January, 2016
Untitled

108 Worldly Desires
Kathie Giorgio
October, 2015
Untitled

The Dishwasher
Andrea Walker
October, 2015
Untitled

My Grandma’s Last Story
Khemendra Kamal Kumar
October, 2015
Untitled

Randy Muses on Juniper Street
Winter Blooms
Shreyasi Majumdar
July, 2015
Untitled

Young In Fall
Megan Miller
July, 2015
Untitled

Fleeing Fat Allen
Donna Miscolta
April, 2015
Untitled

Noé
Deborah Poe
April, 2015
Untitled

Water Children
Midge Raymond
April, 2015
Untitled

Archeology After Dark
Jean Ryan
January, 2015
Untitled

On Vacation
Elizabeth Thorpe
January, 2015
Untitled

Sling Words
Dianne Butler
January, 2015
Untitled

 

Offshore Winds
Elizabeth Thorpe
October, 2014
Untitled

Patch Kit
Kathryn Trueblood
October, 2014
Untitled

The Snow-White Men of India
Sayantani Dasgupta
October, 2014
Untitled

El chiclero/The Street Vendor
María de Lourdes Victoria, translated by Martin Boyd
July, 2014
Untitled

Silence & Silhouettes
J. Phillip Walker
July, 2014
Untitled

These Things That Save Us
Theodore Wheeler
July, 2014
Untitled

Without You, Sister
Jean Paul Sekarema
April, 2014
Untitled

Kwibuka
Mutoni Shadad
April, 2014
Untitled

My Prejudices
Dennis Vannatta
April, 2014
Untitled

Joey
Andrea Walker
January, 2014
Untitled

Hot Oil, Monsoon Rains
Rebecca Mabanglo-Mayor
January, 2014
Untitled

Accident on Mulholland Drive
Lindsay Pyfer
January, 2014
Untitled

 

Interviews

And If They Have Eggs, Bring Me Six
An Interview with Amina Gautier
April 21, 2021
Untitled

 

Poetry Circles Back
An Interview with Kelli Russell Agodon
April 14, 2021
Untitled

 

I’ll Follow Poetry Wherever It’s Going to Take Me
An Interview with Erin Belieu
April 7, 2021
Untitled

 

 

 

Subscribe 


Kahini Weekly



Submission Guidelines

  • Kahini considers original, previously unpublished artistic work.
    • Work that has appeared online in any public form or venue, or appeared in a publically distributed physical form, is considered previously published.
    • Verbally delivered work, if presented on any online platform, is considered to be previously published.
    • Work that has been presented verbally only, but not hosted on any online platform (including spoken-word or open-mike performances) is considered unpublished, and will be considered for publication here.
  • Submissions are open year-round.
  • We publish all genres: fiction, nonfiction, poetry, and cross-genre or un-genre work. We also accept video or audio submissions of spoken-word performances, if these recordings are not already available on an existing platform.
  • We have no word-count guidelines: we have published a poem of sixteen words, and regularly consider novella-length work of up to 40,000 words or more.
  • Please email submissions@kahini.org with your work attached in whatever form you choose. If we can’t open the attachment, we’ll let you know.
    • In the “Subject” line, please simply write, “Submission.”
    • In the email itself, please include a short bio/cover letter.
    • Please make sure your name and email address also appear on the attached document itself.
    • If you send multiple pieces, please include them all in one single document attached to a single email. Most writers have around four to five works under consideration with us at any given time.
  • Please feel free to send work under consideration elsewhere (colloquially known as simultaneous submissions).
  • We value your time: we read all submissions within twenty-eight days, and will contact you within that time frame if we’re interested in your material. We regret that, due to the volume of submissions we receive, we will not be in contact with you unless we’re interested in moving forward with your particular piece.
    • We do not send rejection letters: if you do not hear from us within twenty-eight days of a particular submission, Kahini is not moving forward with that particular work of art.
    • If we pass on a particular work of art, often it’s not necessarily due to the merit of the work but a variety of other factors, including the amount of submissions we receive and our desire to have the works in each edition speak in conversation with each other in some way.
  • Please only send us work if you’re writing in your truest artistic voice. We seek work that thrives through an alchemy of sensory detail; setting; character and point of view; plot, structure, and pacing; voice(s), style, and tone; visual presentation; title; authorial identity; and thematic elements. We seek work that ignites from these elements but that also transcends them–defining and creating the condition of art in your own unique way.
    • If you have questions about what we mean by the above, please consider browsing these notes. In addition:
      • we prefer nouns, not verbs;
      • we prefer specific, sensory detail, not abstractions;
        • please remember that all abstract words, like “love,” “rage,” “delight,” etc., are necessarily broad in order to encompass a wide variety of millions and millions of individual experiences; therefore, the more specific you can be to the specific experience, using specific nouns as opposed to broad abstractions, the more resonant we find the work, generally speaking;
      • we prefer that adjectives, if used, be (nearly) irreplaceable to the noun being defined;
      • we prefer not to read political rants, but aren’t inherently opposed to polemical writing, or writing being used to illustrate a point or perspective, if the work is also clearly reaching for the condition of art through linguistic exploration of life;
      • given the essential work of justice that is happening in our many communities, we as a board are continuously evaluating our editorial position on a variety of contemporary artistic conversations centered around the creation of character, as well as authorial identity (to be direct: who and what we publish, and why); dozens of people are involved, and we’ll post that statement at an appropriate time;
      • the energy in the artistic work may be located in the actions and reactions between the nouns themselves, as opposed to you feeling that you need to add an abstract layer of narrative observation/artificial tension on the currently existing energy; in other words;
      • if you must use the [I + verb] construction, please pause a moment to consider the nature of the narrative gaze and narrative movement(s) you’re using in that specific work: is the first-person perspective reducing or increasing the engagement with the earth/world being observed?
      • we aesthetically prefer the raw and the real to work that is craft-polished on the surface, but has little depth or meaning. Is there something essential about the particular work of art you’re sending? You know the answer. If there is, send it. If there isn’t, don’t send it yet. Listen to it, until its true heart reveals itself to you, and send it at that time.

Our acceptance rate is around 0.0007%, or about one acceptance for every 1,500 submissions. We’re in constant search for great new artistic work, and you might be the one writing it. As a weekly, we offer $100 usd for each accepted work.
Untitled