Cutthroat, A Journal of the Arts has long positioned itself as a venue for writing that does not flinch. Its name signals an editorial temperament: work with an edge, work that risks something. For CT30, under the thematic banner "Standing Up," the journal calls for nonfiction that addresses where we go from here—a question posed against a backdrop of climate change, foreign wars, assaults on civil liberties, genocide, and the domestic and foreign affairs of the current administration. The editors are not asking for reportage or op-ed polemic, but for the writer's response as a writer and citizen: how one copes, how one stands, how one makes art in the midst of it. The scope is deliberately broad in style but narrow in quality. The journal states it is open to all styles but favors nonfiction with an edge—language that cuts, perspective that is earned rather than asserted. Submissions are limited to one essay or memoir piece per writer, with a maximum of 5,000 words, and the work must be unpublished and unposted. A short bio note is required. The reading fee is described as small; the journal does not specify the amount in the provided materials, and writers should consult the submission portal for the exact figure before submitting. What the journal offers is not a prize but publication: careful reading, consideration of all work, and a decision timeline of two to six months. There is no cash award, no residency, no exhibition. The value here is editorial attention from a journal with a demonstrated commitment to writing that engages the political and personal without separating the two. For the nonfiction writer whose work is inseparable from the urgencies of the present, this is a call worth answering with one's finest pages.