Submission Call for Disabled Writers from Appalachia: An Anthology Edited by Kendra Winchester

Many readers of this blog will be familiar with Kendra Winchester’s name from her work as the host of the popular Read Appalachia podcast, which celebrates Appalachian literature and writing. Kendra is also a Contributing Editor for Book Riot where she writes about audiobooks and disability literature. Kendra and I had a chance to spend some time together in person this past summer during the Appalachian Writers’ Workshop. One day while we were having lunch, Kendra started to tell me about her new project to compile and edit an anthology of work by disabled writers from Appalachia. The dining hall that day was so loud with conversation and laughter that we struggled to hear each other. So Kendra agreed to answer some questions over email about this anthology, which is actively accepting submissions.

DL: I was excited to learn that you will be editing an anthology of work by Appalachians writing about disability. How did the idea of this anthology form?

KW: Far too often, disabled people are treated like we’re invisible. When we are mentioned, we’re featured as inspirations, side characters, or burdens for the nondisabled people around us. Sometimes the very existence of our disability makes other people uncomfortable.

When I first read Disability Visibility, edited by Alice Wong, I didn’t realize how rarely I saw my disabled self in books. Reading stories about people like me was something I never knew I needed. This led me to seeking out as many books by disabled authors as I could get my hands on. Little did I know that there was a whole disability community waiting for me. We have our own culture and history. People just have to realize that it’s there.

In the vein of Disability Visibility, I wanted to bring together Appalachian writers to tell their own stories of what it’s like being disabled in Appalachia. With poetry being such a vibrant tradition in the region, I also wanted to include poets, and my goodness, so many Appalachian poets have shown up in such a big way. My hope is that this anthology will be the first of many anthologies of disabled writers from the region sharing their work with the world. The more voices, the better.

Sometimes people ask me if their disability “counts,” but we’re using the big umbrella for disability. So anyone who is disabled, chronically ill, deaf, or neurodivergent is most welcome to submit.

DL: Do people with disabilities in our region face challenges that are unusual or different from other regions?

KW: Appalachia has higher rates of disability than the national average. Some disabled people have had to completely leave the region to seek treatment. Some disabled people can still live in the region but have to travel back and forth to urban centers to see specialists. And others are disabled because they worked in major Appalachian industries, such as coal mines and paper mills. Whatever our experience, we all have stories to tell. 

DL: What genres are you seeking for this anthology, and how long should submissions be?

KW: I’m looking for creative nonfiction essays—around 2,500 – 3,000 words—that center the writer’s experience with living with disability in Appalachia. I’m also looking for poetry—3-5 poems—informed by personal experiences with disability in the region. I also welcome previously published work.

DL: Are you only looking for work from published, experienced writers?

KW:  I’m looking for writers of all experience levels! The anthology includes experienced, prize-winning writers and people who have never had a published piece before. 

DL: How can writers submit to your anthology, or reach out to you if they have questions?

KW: To submit their work or if anyone has questions, they can reach me at Kendra (at) readappalachia.com. I’m happy to answer any questions that they may have.

DL: When we were at the Appalachian Writers Workshop this past summer, you read a wonderful piece about growing up with a disability. Where can readers find that essay or any of your other recent work?

KW: Owning It: Our Disabled Childhoods in Our Own Words just came out in the U.S. this past August. It includes dozens of essays by disabled adults who were also disabled as kids. I was so honored to be included with writers like Ilya Kaminsky, Imani Barbarin, Ashley Harris Whaley, Rebekah Taussig, and Carly Findlay. I also write for Book Riot and have an occasional newsletter called.

Many thanks to Kendra Winchester for this important work and for answering my questions. You can find out more about Kendra and all of her projects by following her on Instagram or Twitter, or by subscribing to her occasional newsletter called Winchester Ave.

In case you missed it…Check out past conversations about writing and publishing with Melanie K. Hutsell, Zackary Vernon, and David Wesley Williams, whose new novel, Come Again No More, is out this week.

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Every Little Seed

Last night, I was given the opportunity to read at the Folkfest Appalachian Supper in Cumberland Gap, Tennessee. This annual event to celebrate local and traditional foods is part of the city’s larger Folkfest weekend, which was re-introduced a few years ago by a citizen’s group called Guardians of the Gap. For my part in the event, I revisited a short essay I’d written several years ago about how I learned to raise a garden and how much my family has always loved fried corn. Here’s the essay and few pictures from last night’s farm-to-table dinner on the lawn. I hope that apple stack cake doesn’t make you too hungry.

There is a unique joy that comes from watching a seed emerge from the earth. In such a short amount of time, a kernel of corn, for example, grows from a tender green blade to a stalk that is taller than a person. In between these stages, if the rains have come at the right times (not too little but also not too much) and if the bugs and blackbirds haven’t eaten it all first, there are ears of delicious corn.

When I was growing up, my parents always raised a garden, and I was taught how to pull onions, cut cabbage heads, dig potatoes, husk corn, and pick everything that can be picked. It was important, especially to my dad, that I knew how to grow things, where food came from and that it involved hard work.

Six months after I graduated from college, my dad suffered a stroke. The doctors didn’t immediately think he would survive. And when he did survive, he was completely paralyzed on his left side. After weeks in a hospital and a rehabilitation facility, he finally came home, but everything in our lives was different after the stroke. That included the significance of the garden. All that winter and spring, as my dad endured daily physical and occupational therapy sessions, he talked about getting the ground ready to plant, and I became determined he would have his garden as usual.

My dad regained sensation and mobility. Only his left leg remained partially paralyzed, and he was fitted with a brace that kept his ankle from buckling under his own weight. He gradually was able to walk farther distances. But before he was strong enough to pull the starter cord on his old tiller, I would start it for him and shadow him as he guided the machine down a row. At first, it was all he could do to make it back to his starting place and then to his lawn chair under our crab apple tree. It exhausted him, but it was some of his most motivating physical therapy.

When my dad couldn’t be the gardener he wanted to be, he became a gardening coach, urging me to chop away the ever-persistent chickweed, to pull the dirt away from the onions and toward the potatoes. He instructed me until I was sick of the entire idea of gardening. I would sometimes quit out of frustration or maybe out of sheer resentment. I was sure I would never master this particular art, and I was frustrated at the amount of time the garden was taking away from what I wanted to do. But I always came back to it.

For almost a decade after that, I helped my parents raise their garden. While other jobs seemed to be expected of me, gardening was the one task my dad was verbally appreciative of. It made him happy to wake up in the morning, look out his kitchen window and see clean rows of young plants growing bigger, taller, thicker, stronger. I also learned to more fully appreciate the complimentary beauty of fresh green growth against the garden’s rich brown dirt. When the spring nights are still cool, the onion sets are slow to straighten and turn green. As the days grow warmer, the tiny lettuce seeds grow into a thick, luscious bed. When it’s finally warm enough to plant the beans, they sprout so fast, it can only be described as a miracle. The more involved I became with growing the garden, the more satisfied and grateful I felt for being a small part of that miracle.

In my family, the most anticipated meal of the year was always the day the first corn came in. We love it any way it can be cooked—boiled, baked or grilled, but to us, the greatest delicacy is fried corn. We cut it off, slow simmer it in butter and milk, and eat it with biscuits hot out of the oven. We’re not even too picky about the biscuits, as long as they exist. Fried corn is the star of this meal. There’s only a certain window in the year when fried corn comes. This delicacy can never be exactly duplicated with frozen or canned corn. You have to have fresh corn, and even fresh corn from the farmer’s market is not quite the same as corn straight out of your own garden.

We are in such a hurry to eat it that we are sometimes careless if a strand of silk makes it to the pan or even the plate. Fried corn is the most tangible reward for all the tilling, hoeing, weeding, watering, waiting and praying that is required in the previous two months. As much as the taste on our tongues is the satisfaction in our bones that all our hard work was worth it. We planted a row of seeds and had faith a meal would be delivered from it sometime later.

Witnessing the production of my own food—brought forth by my own hard work—changed my relationship with my dad who has been gone for almost eight years now. It changed my perspective on food and health, and on how I want to live my life. It changed the way I think about the lives of the people around me.

In the second chapter of My Antonia, Willa Cather writes about Jim Burden’s first visit to his grandmother’s garden. The well-preserved garden, full of flowers and vegetables, assures him that humans, when they die, “become part of something entire, whether it is sun and air, or goodness and knowledge. At any rate, that is happiness; to be dissolved into something complete and great.” Every time I plant a seed, I feel connected to my dad. I feel connected to my ancestors and to all the people who turned the earth before me.

In case you missed it… check out my introduction for the launch of Darnell Arnoult’s new book of poems, Incantations.

~

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“When you are not there” by Ron Houchin

The writing community lost a fine poet and friend last month when Ron Houchin passed away from a rare form of kidney cancer. I first met Ron when he attended the inaugural Mountain Heritage Literary Festival (MHLF), and our paths crossed many times in the years since then.

Ron was a consistent attendee at MHLF, and he never missed the Saturday morning hike led by my friend Tony Maxwell. Each year, Tony chose a walk that would eventually lead to the Pinnacle Overlook at the top of Cumberland Mountain, and Ron was always there. In the photo below, taken in 2017 and shared by Thomas Alan Holmes, you can see Ron standing second from the left, wearing his trademark baseball cap.

Thanks to Tony’s suggestion and Alan’s organization, a small group gathered at the Pinnacle Overlook on Sunday morning to remember Ron.

I wish I could share all of the wonderful stories that were told. Ron was often quiet, especially in group settings. He was one of the most thoughtful people I’ve ever met. Those factors combined with his obvious talent as a writer could feel intimidating. And yet he was incredibly kind and generous with his time and energy, and he often surprised us with his witty sense of humor and his always perfect delivery.

Ron published a remarkable body of work ranging from poetry to short fiction and a young adult novel—ten volumes that will keep him and his voice from ever completely dying. We read a few of his poems on Sunday when we gathered on top of the mountain. I didn’t read a poem, myself, although for weeks now, I’ve been carrying around my copy of his 2009 collection, Museum Crows, one of four titles published by Salmon Poetry. The first poem I opened to was, “When you are not there,” a perfect poem for a time of loss.

When you are not there

Five granules of pepper
and three of salt lie on the table
beside two clear shakers.
On the floor a ray of sunlight
lands beside the dog dish.
It creeps over the bowl
while the dog sleeps.

In his dream, he growls,
but the sun beam does not hesitate.
Its bright tongue licking over
the edge of the dry food wets
it with light. The dog blows
out his breath, feet twitching.

Across the room, a tall glass,
empty but for three ice cubes,
clinks and settles its coldness.
Behind the refrigerator, frail
cobwebs, in the pattern
of someone’s initials, wave
in wind from the furnace vent.

Like the music of fear, the red light
of the security system keeps time.
When you are still not back, a full,
pastel moon peers in the big window
over the breakfast nook.

These things, and the bright planet
Venus shining through
the storm door, will not ask your
whereabouts or why the car is not
ticking toward coolness in the garage.

But the dog will wake soon
and whine for you and fresh food.
The philodendra will take
a week to miss you.
The tall water glass, still on the counter,
whispers tragedy in strains of evaporation.

Now Available: I Thought I Heard A Cardinal Sing

I’m thrilled to have two poems included in I Thought I Heard A Cardinal Sing, a new anthology that celebrates Appalachian writers and particularly those from the Appalachian region of Ohio. Kari Gunter-Seymour, who edited this collection, wrote:

“Within these pages you will find a lavish mix of voices—Affrilachian, Indigenous, non-binary and LGBTQ; from teens to those creatively aging; poets in recovery, some with disabilities or developmental differences; emerging and well established; some living in the state, others from assorted locations throughout the country—all with a deep connection to Appalachian Ohio. The work speaks honestly and proudly as it represents Ohio’s Appalachian population, providing examples of honor, endurance, courage, history, love of family, the land; and provides evidence of how even against the odds our people continue to thrive, to work hard to build awareness and overcome mainstream America’s negative response to those with a strong Appalachian heritage.”

I Thought I Heard A Cardinal Sing is published by Sheila-Na-Gig, and you can order the book through their website: https://sheilanagigblog.com/cardinal-sing/.

Jesse Graves’ Merciful Days

In his third solo poetry collection, Merciful Days, Jesse Graves returns to the East Tennessee farm of his youth. The land Graves writes about is also his ancestral home. Sense of place is almost a requirement for Tennessee writers, but Graves’ abiding connection to place gives exquisite life and meaning to his work. Many poems center around the loss of the author’s father and brother. Those poems are poignant in their own right, but they speak to a larger theme that flows throughout the collection: that we as individuals are only a fleeting part of something much larger and more mysterious than we can fully comprehend. This idea is evident in “Mossy Springs” where the narrator revisits a watering hole on the family farm:

…you wonder at the bloodlines
that drank here before you,
dating as far back as time records.

Hunters from the original tribes,
trackers chasing game upstream,
farmers drawn over from the fields,

and now you, looking for the lost
kingdom of your ancestors,
their eternal thirst to be found.

For Graves, this big examination of generations extending “as far back as time records” is inseparable from his own personal experience. His life is tied to the past in ways that are not completely understood even though they are tangibly felt. “Come Running” depicts this, and it is perhaps my favorite poem in this collection:

Come Running

They amble across the field, drawn to shade,
sniffing for uncropped clover and sprout,
their slowness measurable by galactic tilt.
From a distance the calves look identical,
but watch closely, and the shadings around
white faces range from salmon to maroon,
and the little curls on their foreheads
twist in tighter and looser tangles.
If a baby separates from its mother,
she calls for it like a foghorn, the lowing
anyone can tell means “find me now.”
But listen closer, and a mother can signal
her child with the slightest grunt
from the other side of the field—
no other calf will move or even look up,
yet one comes running, summoned home.

In many ways, Merciful Days is simply about the idea of memory—how memory keeps the past connected to the present and the future, and how memory sustains us through loss and sadness. Merciful Days is an elegy, but it’s not a dirge. These poems are full of joyous moments, as well as of the deepest sense of love, the kind that only expands and grows.

Merciful Days cover