Poetry Submission Guidelines
ezzo Cammin welcomes submissions of poetry that pays particular consideration to form. Poems in structured forms are especially welcome, but poems that use form in interesting and experimental ways are also encouraged.
Please submit four-six unpublished poems using our new Submittable portal.
Submission Guidelines for Essays
ezzo Cammin welcomes submissions of essays on any aspect of poetry in form by women. Suggested topics include studies of the work of a single author or group of authors; studies of how women have treated a particular form (such as the sonnet, or experimental forms); or controversies surrounding women writers and form (such as canonization or evolving attitudes toward poetic form).
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 Although we do not require essays to focus primarily or exclusively on formal elements of the poetry discussed, we do expect that essay writers will include some commentary on form as a way of illuminating their arguments.
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Although we do not require essays to focus primarily or exclusively on formal elements of the poetry discussed, we do expect that essay writers will include some commentary on form as a way of illuminating their arguments. We do not limit our purview to the twentieth century, or to poetry in English; however, we do ask you to provide translations if you submit an essay on women poets who write in languages other than English. Also, for essays accepted for publication in Mezzo Cammin, we may ask the writer to assist us in obtaining permission to quote coyrighted material. Unfortunately, at this time we do not pay for essays. We plan to run special features on a particular author or topic at least every other issue; the new topic will be announced in the preceding issue. Our preferred length is 5000 words (20 pages) but shorter or longer pieces may be considered. Please follow MLA citation format.
Please submit original, unpublished essays or queries as e-mail attachments in RTF (rich text format), to: evnsanna@comcast.net.
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| Rounded in deep compassion for the human experience across borders, Mizrachi explores both the spiritual and physical dimensions of being human, and in particular, female. Often times, the female figure in various mythical iterations intersects with earthbound feminine forms as a means to communicate and transmit social consciousness. Mizrachi’s intentions include the empowerment of self and others through artistic expression, as well as advocacy for women, youth, and the environment. Family, community, and tribe are also recurring themes and are approached as active spaces of shared engagement.
In recent years, Mizrachi’s studio practice has developed into a testing ground for explorations in assemblage, sculpture, and installation that has transformed both her painting practice and decades of work as a muralist. Moving beyond paint, her small scale pieces have become sculptural drawings and her murals have become outdoor wall installations. Both styles of work have taken on new life as three dimensional geometric forms.
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