A Long House positions itself not as a prize but as a fellowship—a distinction that matters. Where prizes tend to reward finished work, fellowships assemble a cohort and sustain it over time. The structure here is deliberately cross-disciplinary: poetry is placed in conversation with image, movement, and narrative nonfiction, suggesting that the organizing intelligence behind the call is less interested in medium-specific excellence than in the friction and exchange that arise when writers and artists working in different registers share a common space. The absence of a fixed geographic anchor reinforces this: the fellowship is listed as global, implying a cohort assembled across borders and time zones, with the fellowship itself—rather than a building or a campus—serving as the shared site. What the fellowship offers in concrete terms is not specified in the available record. There is no stated stipend, no residency duration, no exhibition or publication outcome. This is not unusual for a first- or early-cycle call, but it places the burden of due diligence on the applicant. The organization is unnamed in the record, the fee status is unknown, and no deadline is given. None of these absences should be read as red flags; they should be read as blanks that require direct confirmation before an applicant commits time, work samples, or money. What can be stated with confidence is the disciplinary range. The fellowship is open to poets and to practitioners in fiction, essay, photography, film, dance, illustration, and memoir. That is a wide net, and it implies a curatorial vision that values the essayistic and the documentary as much as the lyrical—work that investigates, records, and embodies, not merely work that performs virtuosity within a single tradition. Artists whose practice already moves between disciplines, or whose work is difficult to place within a single genre, are likely to find the premise legible.