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Submit to Penned in Rage Literary Journal How to Submit Submit Free of Charge, by Email - pennedinrage@outlook.com Penned in Rage invites submissions from underrepresented writers. SUBMIT a Poem or Flash Fiction in Word Document Format Please Poem - free verse, haiku, Fibonacci, Prose et cetera preferred over meters. Maximum lines 40. Flash Story - maximum 500 words; Fiction. Nonfiction and Non-academic essays accepted. Submissions The unthemed submission window will reopen 01 AUGUST 2025 for the third online edition of Penned in Rage Literary Journal. CLOSES 31 AUGUST 2025

Email Submissions from July 1st - 31st to:

pennedinrage@outlook.com

Please Address Submission/s to Editor, Chukwuebuka Onyishi

NEWS:

 

Penned in Rage Journal Has a New Editor.

 

Onyishi Chukwuebuka Freedom who was shortlisted in The Annual Bridgette James Poetry Competition, 2025 joins me as the editor of Penned in Rage Quarterly Journal. He is a poet, essayist and Publicity Secretary. He is currently the Winner of the 2025 COAL NG (The Coalition of African Literature), in partnership with the University of Leicester’s Avoidable Deaths Network and the SEVHAGE Literary and Development Initiative.

 'I’m deeply honored by your consideration and gladly accept this offer to serve as editor for Penned in Rage Journal. 

In the January–April edition of Penned in Rage, till this very moment I am still reminded of Gary Bryant’s words: “I believe each of us is blessed with some innate talent that allows us to enhance mankind in some small or sometimes greater way.” These words have continued to resonate with me and to further reflect my own belief in the power of creative expression to contribute meaningfully to humanity.

More than a role, this invitation is a call to uplift overlooked voices and champion the transformative power of literature. I am committed to serving with heart, dedication, and openness to growth.'

Congratulations. I'm sure he can't wait to read your brilliant stories and poems. The submission window reopens in August 2025.

About Penned in Rage Journal

Penned in Rage magazine is focused on publishing fiction, nonfiction, poetry, flash fiction, experimental prose and hybrid works, written by underrepresented writers.

Each quarter a submission is chosen as the featured piece.

 

The journal aims to create a community of subscribed readers who enjoy contemporary creative writing styles. 

How to Submit

Submit Free of Charge, by Email - pennedinrage@outlook.com

Penned in Rage invites submissions from underrepresented and marginalised writers.

SUBMIT a Poem or Flash Fiction in Word Document Format Please

Poem - free verse, haiku, Fibonacci, Prose et cetera preferred over meters. Maximum lines 40. Flash Story - maximum 500 words; Fiction. Nonfiction and Non-academic essays accepted.

Submissions CLOSED

The  'unthemed' submission window will reopen 01 JULY 2025 for the third online edition of Penned in Rage Literary Journal.

CLOSES 31 JULY 2025

You may submit a 40-line poem for consideration. I do not publish metered poetry of any shape or form, neither do I accept anything that offends other social groups.

Flash fiction not exceeding 500 words on any genre or topic may be submitted, as may non-academic essays or creative nonfiction not above 500 words.

Underrepresented writers from anywhere may submit a poem or flash fiction for consideration.

How is the journal published?

Triannual Online Publication - Downloadable PDF January, April, August

Shortlisted Contestants: The Annual Bridgette James Poetry Competition, 2025

(Entries Verified and Matched to Contestants by administrator, Lergon Parris)

  1. Clement Abayomi

  2. Osahon Oka

  3. Chukwuebuka onyishi

  4. Adesiyan Oluwapelumi

  5. Daniel Jacinth

  6. Solomon Hamza

  7. Ugochi Eze

  8. Innocent Tarojacho Ojo 

  9. Utaara Tjozongoro 

  10. Tukur Loba Ridwan

  11. Joel Oyeleke

  12. Sosy Imafidon

  13. Ayomide Olaiya

  14. Obiotika Wilfred Toochukwu

  15. Derek Ehiorobo

  16. Egharevba Terry

  17. Emmanuel Somtochukw

  18. Fortune Simeon

  19. David Meme

  20. Justice Kingsley 

  21. Josiane Kouagheu

  22. Olaore Durodola-Olotoheu

  23. Timileyin Adepoju  

 
Shortlisted Entries - Titles (Order Does Not Correspond to Names)

  1. Entry 770822 -  'Big Lights and Thunder' 

  2. Entry 12977 – 'Sigh' 

  3. Entry 50870 - 'Prayer' 

  4. Entry 31858 - 'Sea Parasite'

  5. Entry no 30466 – 'House of Water' 

  6. Entry 80180 - 'Breaths of Peace' 

  7. Entry 62170 - 'Life's cycle' 

  8. Entry 58622 -  'All of it'

  9. Entry 66224- 'Awakening' 

  10. Entry 44280 - 'Nature and You'

  11. Entry 84905 - 'Heat Across a Suburb' 

  12. Entry 55710 - 'I belong' 

  13. Entry 83214 - 'Where The Heavens Crumble' 

  14. Entry  63217 - 'A Day to Remember' 

  15. Entry 18867 – 'Cries Out of a Cave'

  16. Entry 777384- 'Elegy for the fireflies'

  17. Entry 47127 - 'When Earth Whispers in Fragments'

  18. Entry  46770 - 'The Path I Learned “Wilt” '

  19. Entry 04475- 'What the Meteorologists Say' 

  20. Entry No 45749 – 'Roots in the rain'

  21. Entry 19824  - 'the moabi’s tears'

  22. Entry 55169 -  'A catalogue of inquiry'

  23. Entry 05503 - 'The Bridge ||'

The Following Poems Were Placed, Commended or Won a Special Prize 

Entry 770822 -  'Big Lights Thunder' Matched to runner-up, Chukwuebuka Freedom Onyishi -$10 USD + Best Metaphorical Poem - $5

Entry 58622 -  'All of it' Matched to Solomon Hamza - $10 USD

Entry 50870 - 'Prayer' Matched to winner Osahon Oka - My Favourite Poem: $20 USD + $40 USD

Entry  46770 – 'The Path I Learned “Wilt”'Matched to Egharevba Terry - Judges' Favourite Piece- $10 USD

Entry 12977 – 'Sigh' Matched to Clement Abayomi - Third Place- $10 USD

Entry 30466 - 'House of Water' Matched to Daniel Jacinth​ - Fourth Place - $10 USD

Youngest Shortlisted Contestant - Fifteen-year-old Utaara Tjozongoro - $10 USD

Question:What Were You Looking for as the Gatekeeper?

"Well, my job was different from the judge’s one. I gave them a benchmark poem for the competition, which was the 2024, poem: Arrival by Adedayo Agarau. (A benchmark poem simply sets an expected standard for the region.)

I concerned myself with the first (hook line) and last lines of the poems. Both the introductory and end lines have to be unforgettable. In England, you might hear the expression, 'take home lines' these are the last lines which should be memorable in a good piece.

I printed out, read and re-read some of / the shortlisted pieces several times to determine whether or not pacing, clarity and tone fitted perfectly in the body of the work.

If a poem started off with brief lines as if the poet were jogging or running, then suddenly settled or dwelled on an idea, I would query why the pace changed. Readers do not like a major shift in a poem- well I don’t. (A poem can raise the stakes too as in the end part of Arrival but guide me along please as Adedayo did.)

If the poem’s tone altered, I would wonder why. Similarly, so clarity means good use of English- choosing the right word/s.  Good writers use a thesaurus.

Some poets tend to overwrite. Because the stipulated guidelines were 40 lines, it doesn’t mean you have to keep going just to elongate your poem when nothing much more could be added. I’ve seen short poems do well in competitions in the UK too.

I asked myself too, Is the poem dated? Have I read a better one elsewhere? Does it reflect current styles found in Literary magazines in 2025?

Lastly, I checked for grammatical errors. A poem with grammatical errors cannot win."

B. James.

'There was a lot at stake for me in this competition as the project gains traction across the sub-region of Africa. I wanted a winner who was pamphlet or chapbook-ready and capable of representing the brightest poets in the region.'

​My Poem Was Redacted After Signing a Contract

 

'If your poem wasn't included in the manuscript for the Soil Unfurling from Stem anthology, it was because I came down to ninety-six contributors out of a hundred-and-ten. I'm deeply sorry if I was compelled to excoriate your poem; it just wasn't ready for publication yet.'

Table of Contents

  • Foreword by Oumar Farouk Sesay                   

  1. Prayer by Osahon Oka

  2. The Cattle Herder's Epilogue by Osahon Oka

  3. Sunflower by Gideon Idudje

  4. Landscape by Adesiyan Oluwapelumi 

  5. All of It by Solomon Hamza

  6. The Scent of Home by Chidera Okebe

  7. Breaths of Peace by Ugochi Eze

  8. Awakening by Ferdinand Emmanuel Somtochukwu

  9. From Dawn to Dusk by Oladipo Mardiyah 

  10. A Day to Remember by Ayomide Olaiya

  11. To Tend the Earth by Osborn Israel

  12. Me & You by Prince Jamal Chukwuka Duru  

  13. Mountain Songs by Aliyu Umar

  14. The Path Where I Learnt the Meaning of Wilt by Egharevba Terry 

  15. Nature & You by Utaara Tjozongoro 

  16. The Fallen Tree by Jésùjọba Isaac

  17. And the Trees Stopped Talking by Raphael Ibekwe

  18. Where the Quiet Lives by Dare Michael Oluwaseyi

  19. Whispers of the Ancient Forest by Samuel Chinonso Obika 

  20. Roar Without Apology by Samuela Ntobe

  21. Man-Made Earth by Olobo Ochala

  22. Naked Earth by Chidi Nwakpa

  23. When the Earth Speaks by Ngozi Chioma

  24. When Earth Whispers in Fragments by David Meme

  25. Earth Bleeds by Rachael Omage

  26. The Earth’s Quiet Rebellion by Abolade Oluwakemi

  27. The Smile of Rusting Gold by Ikechukwu Iwuagwu O 

  28. Flume of P-Quills by Obaji-Nwali Segun

  29. The Moabi by Josiane Kouagheu

  30. Little Me by Ajiboye Senami

  31. Ordinary Human by Wisdom Adediji

  32. A catalogue of inquiry by Olaore Durodola-Oloto

  33. The Wind Speak in Silence by Mature Tanko Okoduwa

  34. Between the Wind and Sea by Stephen Ivwighreghweta

  35. Naturally Connected by Henshaw Freedom Daniel  

  36. Well under 2oC by Richard Phiri

  37. Oil-drunk by Opeyemi Mapayi

  38. Roots in the Rain by Justice Kingsley Owhondah 

  39. The Bridge by Timileyin Adepoju  

  40. Everything Begins with Ruins, Then a Miracle by Ridwan Fasasi  

  41. River Convo by Graciano Enwerem

  42. Where The Heavens Crumble by Sosy Imafidon

  43. Sea Parasite by Adesiyan Oluwapelumi 

  44. Sigh by Clement Abayomi

  45. This is How The World Ends by Michael Emerald

  46. Got it with the first hit by Bridgette James

  47. Here by Chukwuebuka Alu 

  48. One Day of Rain by Kayode Adesimi

  49. You Did This—Now Fix It by Jive Lubbungu

  50. The Woman I killed by Ozichi Anyinam-Uzo

  51. Elegy for Fireflies by Derek Ehiorobo

  52. Heat Across a Suburb by Tukur Loba Ridwan

  53. House of Water by Oladosu Daniel Ayotunde-Jacinth

  54. Big Lights and Thunder by Chukwuebuka Freedom Onyishi

  55. When the Sky Spoke My Name by Benedict Chinagorom

  56. Even Sadness can Paint a Beautiful Picture by Funminiyi Akinrinade 

  57. The Land in Me by Owolola Ajulekun

  58. Lost Connection by Nwaobilor Vincent Chukwuebuka  

  59. What the Meteorologists Say by Fortune Eleojo Simeon 

  60. Geometry of childhood by Micheal Bello

  61. These Feet Are Not Too Feeble to Fly by Clement Abayomi 

  62. Yesterday, I Saw a Thousand and One Flags by Oumar Farouk Sesay 

  63. Journal Entries of a failed mother by Bridgette James 

  64. A Portrait of Our Love in a Land of Wounded Stars by Chukwuebuka Freedom Onyishi

  • On the subject of Poetry – Competition Judge by Pamilerin Jacob

  • Commentary on ‘Prayer’ and ‘Big Lights and Thunder’ by Bridgette James

  • Glossary

  • Acknowledgements

Book Blurb

                Soil Unfurling from Stem is a multi-author collection of nature poems from sub-Saharan Africa. Contributors include Dr Kayode Adesimi Robbin-Coker an English Language and Literature graduate of the Universities of Oxford and Cambridge,  Dr Jive Lubbungu from Zambia, Chukwuebuka Freedom Onyishi, the current Winner of the 2025 Coalition of African Literature, a Nonprofit organisation in Nigeria and fifteen-year-old Namibian secondary school student, Utaara Tjozongoro. 

                In the foreword, renowned Sierra Leonean writer, Oumar Farouk Sesay explains why poetry matters. ‘Throughout history, poets have sought to celebrate, mourn, and defend the natural world, wielding the measured word and the sharpened image with reverence and urgency,’ explains Mr Farouk.

             This anthology, edited by British Sierra Leonean writer, Bridgette O James, also opens with the winning entry, ‘Prayer’ penned by the widely published poet: Osahon Oka (pictured). The book title comes from a line in his outstanding poem.

 

           Nigerian, Mr Oka is a Pushcart nominee whose poems have appeared in journals and magazines like Sontag Magazine, Kinpaurak, Poetry Sango-Ota, Feral Poetry, and elsewhere. He won the Visual Verse Autumn Writing Prize, 2022.

Cover Design - By Award-winning Nigerian, Visual Artist: Michael Emerald

Poems

Poems

Watch Now

Read the winning poem: 'Prayer' by Osahon OKa. Dust potted on bones. That is how I got here, Stalked here— intense growth Turned towards treetop halo— prayer Angling into heaven’s vast ocular celebration. Green is your restive colour Where butterflies brew their fever and swallows scatter their rave. On devil grass, hunker and I have flattened,— lemon grass Nosing abundance, green blade in wind tide— ready To be flung wide open, my senses

 EDITORIAL 

West African Poetry  

I would like to lay a premise for a discussion of West African poetry by first of all defining it with reference the Master thesis of Moses Temidayo Akinyele Changes and Development in West African Poetry: Nigeria.

   

According to Moses Temidayo Akinyele West African poetry will have ‘wit...and lyricism in some ways which characterize the poems.’ Akinyele also argues that, ‘The uniquely rhythmic, same-cadence and wise nature of West African poetry is inherited from its oral tradition.’

 

In Adedayo Agarau’s poem, ‘Arrival,’ we see evidence of  Akinyele’s description of an African narrative poet who ‘flawlessly transitions between the spectator's previous state of half-consciousness and current level of wakefulness.’  In ‘Arrival’ the poet relays a chaotic nightmare in which, ‘the hunter’s gun turns toward the house of sand where my body hides its flight.’

       'The wise nature of West African poetry is inherited from its oral tradition.’

 

The poem ‘Arrival’ mainly recounts a dream the poet had but he wakes up in a ‘turquoise blue room’- to find to his dismay - the scary aunt has transformed into a meowing cat and as in Ben Okri’s The Famished Road (1991), where Azaro the protagonist wakes up in the spirit world surrounded by witches. Agarau’s poem opens with a setting,

 

      ‘In the evening / rain pours outside/ the town /’

               

West African poets are expert storytellers, according to Moses Temidayo Akinyele, while discussing the nature of storytelling in his thesis paper in 2024. I want to add that this feature could be seen in the poem, ‘Vultures’ by Chinua Achebe and ‘Arrival’ by Adedayo Agarau. The later has characters, a somehow convoluted plot, a climax and a resolution in his poem, ‘Arrival; ‘ listed as: his great aunt, the protagonist-narrator, a mother, a father, a son, his grandfather, his grandmother, the muezzin, a congregation, a woman selling groundnuts, singing children, choristers and earth mothers. Non-human characters include: the river, the house, the cat, bats et cetera.

 

   ‘Arrival’ quickly launch the reader into a heightened action in lines 5-8:

   'but my great aunt / turns rat/ poison in amala for me /’

 

The plot in the dream  climaxes when the narrator awakens in the blue room as a baby in a cot to find witches are gathered around him. His body is being picked with a needle.

 

West African poets draw into a repertoire of cultural beliefs as in, ’Arrival’ where the poet writes in his indigenous language, (Yoruba).

 

Riddles and proverbs in Nigerian oral traditions become metaphors in West African poetry, Moses Temidayo Akinyele purports. ‘West African poets cherish and hold up [a] cultural identity,’ in an ‘intentional  way.’ Writing (these sort of poems) enables the  ‘material and cultural wealth of a nation[to be]…held and transmitted from one generation to the next,’ observes Moses Temidayo Akinyele. The lines, ‘earth mothers spent the night sealing me dead inside my mother’s womb,’ remind me of the turmoil of Azaro in Ben Okri’s  The Famished Road which references Nigerian traditional beliefs of spits trapping unborn babies in another world, a belief played out in Nollywood films too.

      'Whether you read the poems of Adedayo Agarau, Christopher Okigbo or Chinua Achebe you would agree these is a rich tapestry in West African poetry woven into its clouded weft of threads which readers from all over the world can enjoy.' 

          B. James.

 

References

 

  1. Temidayo Moses Akinyele (2024)  ‘Changes and Development in West African Poetry: Nigeria as A Case Study.’  Published by Innsbruck University, Austria.

 

  1. ‘Arrival’ by Adedayo Agarau (2024) Published online by Isele Magazine.

 

Photograph - 

Adedayo Agarau is a 2024 Ruth Lilly-Rosenberg Fellowships finalist, Wallace Stegner Fellow at Stanford University, and a Cave Canem Fellow. He is the Editor-in-Chief of Agbowó Magazine: A Journal of African Literature and Art and a Poetry Reviews Editor for The Rumpus. He is the author of the chapbooks Origin of Names (African Poetry Book Fund, 2020) and The Arrival of Rain (Vegetarian Alcoholic Press, 2020). Adedayo’s debut collection, The Years of Blood, won the Poetic Justice Institute Editor’s Prize for BIPOC Writers and will be published by Fordham University Press in the fall of 2025.

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Public Notice - Complaints and Abolition of Writing Competitions

'The standard of Creative Writing in the United Kingdom and among the literary elites in Nigeria is astronomically high. I stand with the decisions made by the judges but apologise to all those who weren't shortlisted.'

B. James.

My just-concluded Poetry Competition has faced criticism for the outcome, with some Nigerian contestants suggesting the winning poems are not metaphysical but instead used imagism.

Some critics have also questioned the judges' criteria and why their poem didn’t win.

Here's a more detailed look at the complaints:

  • What constitutes poetry?

Some critics argue that the winning poems favour imagery, ‘contemporary poets make use of imagism more.’ 

 

Feedback from an Unnamed Participant:

 ‘I notice that the major trend in Nigerian poetry is imagery, which is a good one. Nigerians have neglected deep poetry, which involves philosophy and the ability to think deeply. I wonder why Nigerians are not exploring metaphysical poems, poems I love the most. I am not saying Nigerians should like or write it because I like it, but they should also explore it. Our main focus is nothing but imagery.  

     My question now is: "What’s the psychological effect of the imagery? Is it just to visualize without gaining? What about metaphysical poems that give room for critical thinking, thereby making people improve intellectually?" I perused contemporary Nigerian poets and saw their use of imagery. Look at poets like Wole Soyinka and Christopher Okigbo (of blessed memory) and see how they refined their poems into metaphysical poems. These two poets have contributed much to poetry in Nigeria.’  [SIC]

Excerpt of Feedback from an Anonymous Participant:

"The Judge’s Feedback Is Nothing but A Cluster of Contradictions

Because if it is the latter, then what happened to anonymity in the judging process? What happened to fairness? And what exactly does it reveal about the systems behind this so-called merit-based selection?

Is the true scandal not that the poem was redacted — but that it was recognized and rejected because it was too capable, too confrontational, too unwilling to perform a cliché?

I Deserve Answers and Clarity, please.

 

If the poem evolved — from what the judge calls “neonate” to “teenager” to “near-proper articulation” — isn’t that what good poetry does?

Isn’t that what it means to use a first-person singular voice in a nature poem — to show the evolution of grief, of growth, of the human condition in dialogue with decay, time and the earth?

You asked us to show personal experience in relationship with nature. I did.

You asked us to speak in our voice. I did.

You asked us to be vulnerable, urgent, and real. I was.

And yet the very thing you asked for, when delivered with precision, was reduced to a dismissal — as if craft and clarity became crimes.

So, yes — I ask again:

If a poet shows range, why is that suspicious rather than celebrated?

If a poem evolves, why is that seen as inconsistency rather than intention?

If a poet shocks with articulation, is that not achievement?

If a poem carries influence, is that not proof of its depth, not its falseness?

 

 

Your feedback — as it stands — is more about your own discomfort than about my poem’s deficiencies.

And I will not allow that discomfort to be passed off as objective critique.

I deserve honest answers. I deserve literary transparency. I deserve better. I deserve to know where there is need for improvements not just a character assassination as the reasons why my sleepless nights of researching, writing, proofreading editing and rewriting would be trash and called a theft just like that.

And so do all poets who dare to craft truth with trembling hands and unyielding tongues.

 

On Submission Guidelines vs. Judging Criteria

 

It is true that I can't be a judge in my own case but I you recall.

The call for submissions was clear: write a first-person poem showing the relationship between personal identity and nature. You asked for exploration, risk, emotional and ecological truth.

My poem, in form and function, embodied all of this. Through metaphor and surreal imagery, it charted the decay of a father’s memory through the image of a termite-infested log — using the earth, garden and bark to hold the trauma of grief and masculinity.

So what changed? Why were poets penalized for not sounding familiar, for pushing boundaries, for being raw?

If the real winning criteria became “poems that could be published in a UK-based collection,” then please say so long before the compete ends. But let's not pretend this edition was one of merit, when it was clearly one of preference.

 

 

Dear B. James,

Thank you for your message regarding the removal of my poem xxxxxx from the Soil Unfurling from Stem anthology.

 

 I write this not out of bitterness, but out of the need for clarity, dignity, and truth. What has occurred — both in the redaction process and the judging feedback — deserves a sincere, critical examination.

You stated that my poem, despite being initially shortlisted and offered a contract (which has restrained me from considering other magazines, “just wasn’t ready” for publication, citing issues with structure, language, grammar, and judge/panel comments. You also admitted that after re-reading the manuscript, some poems were ‘excoriated’ to strike a balance or due to changing editorial judgment.

 

Respectfully, I must ask: Which of these was the real reason — craft, or curation convenience?

If it was simply a matter of reducing the collection from 110 to 68 poems (60 as at now), and prioritizing existing networks or voices that align more closely with your own editorial preferences, that would be one thing — unfortunate, but honest. But what I received instead was a dismissal cloaked in vague generalities, and more troublingly, a judge’s feedback that reads more like an attack on my identity than a critique of my craft. A profiling and insult on my person rather than a review of my poem, a character assassination of the highest order."

  • Outcome:

I will no longer run competitions but offer a Writer’s Grant of up to $100 instead. 

I wish  to congratulate the winners again. The best entries were chosen.

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