Booth, a journal rooted in the graduate writing program at Butler University, has long been a venue for nonfiction that prizes craft, intellectual rigor, and a distinct authorial voice. The journal's editorial stance is shaped by its academic context: it seeks work that engages with the essay as a form capable of both personal inquiry and broader cultural critique. For this call, the editors are explicit about their parameters—one submission at a time, a maximum of 7,500 words, and a categorical refusal of generative AI in the creation of submitted work. This last point is not merely procedural; it signals a curatorial commitment to the human, the situated, and the labor-intensive nature of literary nonfiction. What the journal offers is publication within a respected literary annual, alongside a community of writers associated with Butler's MFA program. There is no monetary prize attached to this call, and the $3 fee is a modest but real barrier that the editors have chosen to maintain, likely to offset administrative costs and to signal seriousness of intent. The absence of a prize should not be read as a lack of prestige; Booth's pages have featured work by emerging and established writers alike, and its affiliation with a university press lends it a stability and longevity that many independent journals lack. The curatorial vision here is one of discernment over volume. By limiting submissions to one at a time and capping word count, the editors are asking writers to self-edit ruthlessly and to present only their most considered work. The explicit prohibition on AI-generated text is a defining feature of this call: it positions Booth as a space where the essay remains a record of human thought, memory, and style. Writers who submit should understand that they are entering a conversation about what nonfiction can do when it is made by hand, mind, and lived experience.