KARI ANN FLICKINGER MEMORIAL PRIZE
GENERAL SUBMISSION TO BALLERINI BOOK PRESS ARE CLOSED
KARI ANN FLICKINGER MEMORIAL LITERARY PRIZE 2025 Submission Guidelines
PLEASE ENSURE YOU SUBMIT A COLLECTION OF SHORT STORIES OR EXPERIMENTAL FICTION AND NOT SINGLE STORIES.
CLOSING DATE SEPTEMBER 30th 2025
- All manuscripts should be no less than 40,000 words in total.
- Please ensure the general formatting includes double spacing, in 12pt legible font
- Please use # for blank spacing between sections / scenes within the stories.
- No Identifying information on the submission as the entries are read blind.
- Please include your name, pen name, and full contact details in a brief cover letter, along with a brief author bio.
- Global entries welcome.
- While we welcome and encourage experimental work, please be mindful of printing limitations of a 6 x 9inch production format.
SUBMIT ALL Entries and or Queries to
Meet Our Guest Judge
Robert Frede Kenter Publisher of Ice Floe Press
Robert Frede Kenter (Publisher, Editor, VISPO Chef & Midwife): is a writer, editor & visual artist, multiple pushcart nominee and BOTN nominee, & founder & editor-in-chief of Ice Floe Press. Poems, theatre work, essays, art, hybrids, collaborations and prose works have been published widely, internationally including most recently: Ballast, Hybrid Harpy, Otoliths, Wasteland Review, Cable Street, Sedserio #1 & 2, Cutbow Quarterly, Watch Yr Head, FeversOf the Mind, Feral, Talking About Strawberries, Burning House Press, Anti Heroin Chic, Cough, Visual Verse, Anthropocene, Street Cake and others. Work in anthologies, The Book of Penteract (Penteract Press, 2022), Seeing in Tongues (Steel Incisors, 2023), Glisk and Glitter (Sidhe Press, 2023), Shine #1 (2024) and many others. His new collection, Father Tectonic is available from EthelZine
Father Tectonic by Robert Frede Kenter — Ethel
Tweets: @frede_kenter & @icefloeP.
Lynne Sachs reads EDEN by Robert Frede Kenter
”While Eden may at first appear as an image book, to be devoured with the eyes with the freedom of a journey without plan, engaging with the book in this way will cause you to miss its immersive, linear construction of meaning. The pages of images with occasional text are not numbered per se, but this is a book that, like a film, moves forward in time. I started with Kenter’s introductory text, one that claims that the art within the book was found, like flora in “wetlands or between clover and lace umbrellas discarded”. The ambiguity of a made object and a found object had begun. We will be asked to parse a “ventriloquism of dots” in the next few pages, words that become images and images that morph into words. Next, I discovered a series of overlaid, Cubist-esque faces, confronting me directly and in profile. This multiplicity of perspectives accentuates a human countenance that speaks to me, even with closed lips. A ventriloquist for the author perhaps?”
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