Submissions

Proposed themes for this year’s upcoming issues

Vol. 31 No. 1 – Early April, 2018 
Theme: My Heritage is Bigger than Yours
Submission due date: February 15, 2018

Theme description

Deeply recessed within the discussion on systemic racism (and the accompanying debate on rising xenophobia and Islamophobia) is the tacit notion that, after all things said and done, western civilisation was almost a welcome historical and cultural necessity – some sort of a natural but burdensome journey that white colonisers had to reluctantly resort to and bear on their shoulders (as amply illustrated by the works of the rogue story-teller, Rudyard Kipling).

After all, western civilisation was a direct result of the enormous industrial modernisation and expansion that Europe had undertaken in its various empires, purportedly on behalf of humanity. This framework of superiority (combining racism and sexualisation of colonial violence and then using troops of colour during the World Wars and, until recently, in Vietnam, Iraq and Afghanistan) has become deeply entrenched and is now also accompanied by a liberal whitewashing technique that, in the face of repeated setbacks, proposes a superiority of intellectuality.

France and its exalted notions of its laïcité is a prime example of that navel-gazing superiority complex that tries to use secularism as an antidote to the fightback against this colonialist assumption of intellectual superiority. The sword of secularism that falls hard on errant immigrants is a telling example, as is the emotional engagement of the general population through the sale of red poppies for Remembrance Day.

In a recent piece in The Guardian, Pankaj Mishra says, “In 1917, the US president, Woodrow Wilson, baldly stated his intention, “to keep the white race strong against the yellow” and to preserve “white civilisation and its domination of the planet.”

https://www.theguardian.com/news/2017/nov/10/how-colonial-violence-came-home-the-ugly-truth-of-the-first-world-war

Thus, “my civilisation is stronger than yours, my heritage is bigger than yours” is a refrain that resounds implicitly nowadays, without the need to spell it out.

We invite writers, artists, essayists and cartoonists to seize the opportunity and expand on this theme in the forthcoming issue of Montréal Serai.

Vol. 31 No. 2 – Early July, 2018

Theme: Populism and the Erasure of History
Submission due date: May 15, 2018

Theme description

Populism rears its head from epoch to epoch, by appealing to gut instincts. It plays to the bleachers. It is immediately attractive. It operates in the “now.” The present. It negates the antecedents. The past. History is negated. Calixa-Lavallée, who crafted “O Canada,” included notions of “home and native land” as a statement of finality to establish the colonizing act as a benign civilizing performance. What home and what Native Land are we talking about? The Chair of the Truth and Reconciliation at Lakehead University, Cynthia Wesley-Esquimaux, has much to say here. (http://www.cbc.ca/2017/whose-home-and-native-land-and-can-canada-move-from-resistance-to-hope-1.4169160)

When the followers of Mr. Trump go gun(g)-ho, they wear MAGA hats. Make America Great Again. It is an anti-immigrant missive. What is negated here is that America’s greatness was built on the genocidal occupation of Native lands. America’s greatness was intimately bound by the toil of its immigrants who built its railroads, factories, bridges, shops and cities, and did research in its universities. The tallest structures on the East coast were built by the expertise of Mohawk and other Indigenous construction workers. Conservative U.S. analysts suggest that Indigenous nations had a population of 112 million in 1492 when Columbus arrived. Today, the Indigenous population in the U.S. is estimated at 5.2 million. When populists claim that “they’ve wasted the money given to them, they are alcoholic and illiterate,” they blithely overlook genocidal practices (e.g., smallpox being deliberately introduced through infected blankets, violent expropriation of Native lands and destruction of traditional livelihoods, and attempts at stripping Indigenous people of their heritage through residential schools). This is one illustration of how populism operates from a “common sense” perspective that is tantamount to erasure of the past.

Populism is not always of the alt-right variety. In other words it is not of the “Anthemic” (as in the Ayn Rand novella, Anthem) variety only. Left liberal politics also engage in identity-based populism. While not exactly pursuing an “us versus them” point of view, it indulges in narrow nationalism in the name of secularism, promoting one type of dictatorship over another. It puts an emphasis on overzealous environmentalism without understanding the trauma wreaked by colonization and underdevelopment. It is stridently identity oriented and overlooks inequality. Historical antecedents are thus bypassed or suppressed.

Vol. 31 No. 3 – Early October, 2018

Theme: Cinema – Beyond the Pale
Submission due date: August 15, 2018

Theme description

The fact that Montréal Serai has been inherently engaged in the practice of reviewing and critiquing cinema requires very little assertion. A quick sampling scan (see below) – to our own surprise – shows that we have covered a lot of territory. Some of our contributors have become well-known film-makers and actors and have made excellent documentaries themselves. Maya Khankhoje, Carlos Ferrand, Pietro Ferrua, Mirella Bontempo, the late Ozzie Bartolo, Federico Hidalgo, Mark Krupa, Julian Samuel and others have covered film festivals and done interviews with cinéastes and artists.

For our third issue of the year, we have invited Dipti Gupta, film lecturer and festival organizer in Montréal, to curate the theme “Cinema – Beyond the Pale.” Dipti has done extensive research on films in India and elsewhere.

The pale, as a noun, has nothing do with the adjective used in Procol Harum’s 1967 iconic rock song, A Whiter Shade of Pale. It has to do with a method of fencing off people, land or ideas by building wooden fences to keep away outsiders, undesirables or the unknown. The best-known examples were in Ireland, but the concept of the pale also applied in English colonial settlements in France, and in Imperial Russia where the Pale was used as a way of keeping the Jewish population enclosed and contained in a limited area.

A pale is a sharp wooden stave that is roped together to make a fence. To keep out renegades, renegade filmmakers and out-of-the-box thinkers. To take an alternate view, away from the clichés that abound in Hollywood and Bollywood, and on HBO and Netflix. But sometimes even those very sources produce some really extraordinary films.

Reviewers, filmmakers, actors and directors are invited to contribute. Montréal is an international hub for the zaniest and most intelligent film festivals, and special mention must be made of the indefatigable crew at Cinema Politica at Concordia University.

http://montrealserai.com/issue/film-aesthetics-are-canadian-films-sexy/

https://montrealserai.com/article/jholmolia-a-film-review/

https://montrealserai.com/article/cinema-south-asia-the-human-condition-in-all-its-complexity/

http://montrealserai.com/article/the-41st-montreals-festival-du-nouveau-cinema-serai-reviews/

reposted:  http://kamalaljafari.net/montreal-serai/

https://montrealserai.com/article/the-other-english-canadian-film-indo-canadian-cinema/

http://montrealserai.com/article/new-voices-in-canadian-cinema-montreal-edition-aonan-yang-diego-rivera-kohn-and-shahab-mihandoust-in-conversation-with-federico-hidalgo/

Vol. 31 No. 4 – Early January, 2019

Theme: The Literature Issue: Decolonizing Voices
Submission due date: November 15, 2018

[Theme description to come]

 

 

Guidelines

Montréal Serai is always soliciting new ideas and materials from outside its geographical purview, on arts/culture/politics. Articles should be well written and not exceed 3,000 words.

We accept reviews of all kinds, covering arts, politics, culture, music, literature and film. We also accept political cartoons. We’re open to new information and regard every submission with the utmost respect.

Montréal Serai respects access copyright understanding on intellectual property rights. We do not publish without the permission and acquiescence of the writer.

See Submission Guidelines below.

Submit to: submissions@montrealserai.com

Comments in general: talkback@montrealserai.com

Snail mail:
Montréal Serai
P.O. Box #72,
Succursale NDG
Montréal, Québec
Canada H4A 3P4

 

Submission Guidelines:

Montréal Serai welcomes your own original, unpublished submissions of art, cartoons, prose, poetry or fiction. Written submissions may not exceed 3,000 words. Audio and audio-visual components are welcome.  Submissions published on your personal blog may be considered if you identify them as such and provide appropriate links.  Serai reserves the right to reject any submission that does not meet its standards or mandate, and will not entertain violent or sexually explicit material or material that does not respect human dignity or that offends minorities on the basis of race, gender, sexual orientation, religious affiliation, disability or personal beliefs.

A maximum of eight photographs will be allowed in the case of visual art in jpeg, pdf and tiff files. Videos should be in mpeg format and compressed. Submissions should be made in the body of the email or in an attachment thereto. Snail-mail submissions are also accepted and must include an email address for acknowledgement and urgent communication. Photographs and texts will not be returned unless accompanied by a self-addressed stamped envelope. If the contributor is found to have violated Montréal Serai guidelines, the submission will be withdrawn from the issue.

Please note that once a submission is accepted, all efforts will be made to respect the spirit of formatting, spacing, etc. used in the original submission. However, these aspects cannot be guaranteed. The online layout of a particular piece is viewer-dependent and relies (dynamically) on aspects such as screen size, resolution, and other factors. If a specific layout is absolutely necessary, we recommend that the author provide a high-resolution image of the text with the appropriate layout.

Montréal Serai is a digital magazine with universal, free access. Readers may request a free subscription for advance notifications. Although the editorial team volunteers its time, we make it our priority to pay contributors with the remainder of funds from grants from the Canada Council for the Arts (after operating expenses are taken care of). Ex gratia honoraria are provided at the discretion of the editorial board for accepted and published work.

Although we welcome experiments in language and deliberate lapses, contributions will be subject to rigorous standards of editing.

Submission deadlines are stated above. Publication begins at the beginning of April, July, October, and January. Additional articles might be posted in booster issues depending on submissions received.

Kindly send an author’s biography of no more than 25 words. By submitting via email or snail mail, the author is deemed to have accepted Montréal Serai’s terms and conditions. Snail-mail submissions must be signed by the author, otherwise they will not be entertained.  Prior publication of all or part of the submitted work must be explicitly stated in the submission.

Policies:

By submitting to Montréal Serai, the contributor acknowledges and accepts the following policies.

Copyright ownership:

Copyright on original pieces published at Montréal Serai remains with the contributor, with two provisos:

  1.  If reprinted elsewhere, a note crediting original publication at Montréal Serai should be included.
  2.  Montréal Serai reserves the right to republish the article in the future.  Every attempt will be made to advise the contributor at that time.

Interview guidelines:

  1. Right to refuse interviews:  A person may refuse to participate in a discussion or interview. Montréal Serai does not require that any reason be given.
  2. Interview use: Prior to an interview, the Montréal Serai interviewer must inform the interviewee about the use of the interview. The interviewee will not necessarily be contacted about further uses of the material. However, where possible, the interviewee will be given the chance to review the article prior to publication.
  3. Notification of the start of the interview: The Montréal Serai interviewer must clearly indicate to the interviewee the start of the interview. Material collected from that interviewee before the start of the interview may not be used without prior consent of the interviewee.
  4. Payment to interviewees: Montréal Serai does not pay interviewees.
  5. Disagreement about publication: Once material has been recorded (digitally, by hand, or by other means) by Montréal Serai, final decisions on publication of the material remain at the discretion of Montréal Serai’s editorial board. It is understood that the interviewee has assented to publication of the material by participating in the interview at the time of recording.

Content permanence: 

Our website serves as an archive of the work done by Montréal Serai. Any submission will thus be archived for posterity.

Links: 

Montréal Serai may sometimes provide a link to websites that do not share its editorial view but provide useful insights. Montréal Serai is not responsible for the content on these sites.

Content sharing with other online publications: 

Montréal Serai content may be linked to other organizations or reprinted with the consent of Montréal Serai’s editorial board, providing that full credit and linking to Montréal Serai is included. Rights to the reprinted pieces remain with the author.

Reprints:

Montréal Serai clearly credits other publications when material is reprinted from another source.

Warranties, representations, indemnities:

The Writer warrants and represents that:
(i)  all of the Work shall be wholly original, except as to matters within the public domain
(ii) none of the Work shall infringe upon or violate the rights of privacy or publicity of, or constitute defamation against, or violate any common law or any other rights of, any person, firm or corporation.

 

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