Category: Mags & Blogs

Readings, diagram poems and towards a new handmade pamphlet…

Oh dear, looks like it’s been a while since my last post – there’s been a lot going on, including a birthday (and all the stock-taking and reassessing that brings),a reading at the swish new Poetry Cafe in London, and the making of a new pamphlet. Plus the clocks have gone back, we’ve put the garden to bed and I’ve even bought my tickets for the T S Eliot prize readings in January. The year must be nearly over!

With Telltale at the new-look Poetry Cafe

The Telltale Press & Friends night at the Poetry Cafe was a real highlight of the last few weeks. I travelled up with Catherine Smith, who has been such a fantastic support both to Telltale and to me personally in my writing. Hearing her read is always a pleasure, and alongside Peter Kenny too – Peter is a creative powerhouse, and I couldn’t have done the whole Telltale thing without him. (He recently won the HappenStance Dream Poem competition – and just look at the marvellous feedback here from judge J O Morgan.) Compering the night with great élan was Sarah Barnsley, another inspirational Telltaler, and our special guest was Abigail Parry – a hugely talented poet whose first collection is coming out with Bloodaxe in the New Year – and long-awaited I think – Abby has won some very impressive prizes. She’s also one of the most modest and humble poets I’ve ever met. All this, plus a full & appreciative audience (the Poetry Cafe always seems to deliver!) made for a fantastic night.

Peter Kenny at Telltale Poets and Friends, the Poetry Cafe
Peter Kenny

Readings coming up

I’ve got some lovely poetry readings to look forward to now – this Monday I’m at Winchester Loose Muse reading alongside the mighty Sasha Dugdale. I’m grateful to organiser Sue Wrinch for inviting me – and in such great company. I’ll be practising my set this weekend!

Then next month a trip to the Open Eye Gallery in Liverpool for the Coast to Coast to Coast vol 2 magazine launch, at the invitation of editor Maria Isakova Bennett. I’m not sure who else is reading at the launch but the list of contributors is a pretty exciting. And a night away in Liverpool at Christmas is going to be great fun!

Illustrators making poetry pamphlets

Coast to Coast to Coast is a hand-stitched thing of beauty. I’ve always loved handmade journals. They feel so personal, as if there’s a tactile connection with the person who made it, and I love the thought of having number 14 (or whatever) of only 50 produced.

I was at the Towner Gallery recently for the Ink, Paper & Print Fair, and came away totally enthused. I picked up two limited edition pamphlets which caught my eye – Bangheads by illustrator Ceri Amphlett and To Eden, Diagram Poems by Matthew Kay. The concept of diagram poems was new to me, and I love it – where each single word really does come loaded, the collages of old-school diagrams with unexpected labels that you feel compelled to examine. The idea of diagrams – traditionally used to express complexities in ways that are supposed to enlighten, to reveal the wisdom behind the facts – as poems, makes sense, and appropriating the diagrams as a means of exploring a relationship feels both humorous and deadly serious.

To Eden by Matthew Kay

Ceri’s pamphlet is, she admitted, illustration-driven, and she doesn’t claim to be a poet, nevertheless I liked the accompanying short poems a lot.

Bangheads by Ceri Amphlett

Bangheads by Ceri Amphlett

All this got me thinking again about hand-making a pamphlet, just in limited numbers, using some of the poems I’ve had no luck in getting published, or versions of them. I love the design aspect of pamphlets and being involved in every aspect of the visual presentation.

The themed sequence I’ve had knocking around for a few years now is the ‘Business Class’ series of poems based on the years I spent in the sport shoe industry. I always bring a couple of them out at readings, and they’re often the ones people comment on, or seem to remember. Most of the poems have been published individually in various journals, but I’ve given up on finding a publisher for them as a pamphlet. The idea once felt original and unusual but maybe no longer – I recently heard of another poet bringing out a pamphlet based on his workplace experiences called – you guessed it – ‘Business Class’.

But I still think the sequence has legs, so I changed the emphasis slightly and decided to focus on the shoe theme. I then realised I’ve actually had a bit of a life in shoes! In this way a short collection started to take shape. I’ve combined the poems together with some relevant grainy photos, and produced a semi-autobiographical sequence called Foot Wear.

This post is already quite long so I’ll talk more about Foot Wear, and my adventures in book-binding, in another post…

Roundup | a good poetry week

Bit of a roundup post. Last Tuesday evening at West Greenwich Library I got to hear some super poems inspired by the Mary Evans Picture Library, by Sarah Westcott (who I almost didn’t recognise because her new, chic pixie haircut was different to her Twitter pic!) Lorraine Mariner, Mick Delap, Peter Wallis and others – including Sarah’s father Richard, who was also kind enough to buy my pamphlet (!) I bought Lorraine Mariner’s collection There will be no more nonsense (Picador) and have romped through it. Recommended!

lorraine mariner - there will be no more nonsense

I wasn’t able to go to my regular Hastings Stanza group on Wednesday which was a shame, but on Thursday there was a bit of a poets’ reunion at Needlewriters from which I came away enthused – about recent writing, about our plans for Telltale Press, and about catching up with poet friends.

Then on Saturday I was in Brighton for a small group workshop given by Jackie Wills. The day started well (trains running!), until I realised I’d gone to the wrong address entirely. So after a leisurely twenty minute walk from the station, I then turned into a crazy woman trying to find her way across town to the actual venue – and let me tell you Brighton is hilly! So I arrived 40 minutes late, red in the face and carrying all the layers I’d taken off en route while overheating. I then started developing a headache from hell so by the end of the day I was very grateful for sharing a taxi back to the station with two of my fellow poets. I somehow managed to run for the train and then sat through the journey with my eyes closed, praying not to be sick.

And yet! I enjoyed the day very much – Jackie presented us with a series of exercises that were all based on poems by quite different poets, from Thomas Sheridan to Adrienne Rich. I came away with plenty of writing roughs that felt work-uppable.

Meanwhile I have The Rialto still to read properly. It was bittersweet to see two of my poems on a double page spread. It’s always brilliant to get something in The Rialto, but (and I don’t think this is unusual) part of me worries straight away that everything around it always seems so MUCH better. And instead of enjoying the moment I’m thinking how high the next hill is to climb. I did read a very insightful piece recently which I thought shed light on this – how focusing on goals means that satisfaction is always in the future or the past – The Problem of Living in the Present. It’s not about ‘mindfulness’. Worth a read if any of this resonates with you.

Currently reading/listening to | upcoming events

As usual I’m a bit late to the party on a few things, namely Ocean Vuong, whose Forward-winning collection Night Sky with Exit Wounds (Cape) I haven’t yet read, but I was fascinated by yesterday’s Guardian profile of him and this video of him reading was just so compelling I had to stop drinking my tea and let it get cold:

I’m currently reading Lara by Bernardine Evaristo (Bloodaxe) which was recommended to me as a kind of ‘novel in verse’ although it doesn’t have a straightforward narrative by any means. The various characters are revealed to us in a fragmentary way, sometimes like film scenes, other times more impressionistic. It’s pulling me along. I hadn’t realised that Bernardine is pretty much from the same town as me, or at least, she was at school there. Which feels kind of strange, and strange that I think it’s strange, as if I thought I had some sort of proprietary rights over it.

Meanwhile I’m nursing myself out of a fluey cold that’s dragging on, hoping to be on better form next week as Tuesday 10th October I’ll be reading at West Greenwich Library (not a million miles from my aforementioned manor) at a special event put on by the Mary Evans Picture Library. It features poets who have contributed to the Poems & Pictures blog – we’ll each be reading our own poems and one or two by other contributors who can’t make it along themselves. I’ve chosen to read Valerie Morton’s ‘The Northern Line’, and ‘Show of Hands’ by Ayesha Chatterjee.

It’s a great list of readers. In particular I’ll be excited to meet Lorraine Mariner. I remember reading her poem ‘And then there will be no more nonsense’ in The Rialto a few years back and I can’t explain it but it just jumped out at me – I had to keep going back to it, keep re-reading it. I never thought so much could be loaded into what appeared to be a small poem. I so wished I had written it.

Also next week (Thursday) is the quarterly Needlewriters event in Lewes, featuring poetry from James Flynn & Linda Black, and prose from Matt Freidson.

I’m then looking forward to a day-long small-group workshop with Jackie Wills, whose Woman’s Head As Jug (Arc) I talked about on this blog a while back. As well as her poetry collections, Jackie has also written an ebook called The Workshop Handbook for Writers which sounds like a really useful resource.

 

To Liverpool, 28 drafts later

It’s wonderful how software like Illustrator allows non-designers like me a chance to play around with layout, typefaces and graphic design. I really value how digital has made good quality print projects possible for amateur creatives. We can all be publishers now. Producing your own zine, poster, wall art or whatever is cheap and easy.

Perhaps this is what gives the handmade or hand finished object extra appeal. I haven’t seen the magazine Coast to Coast to Coast yet – it’s only on its second edition – but when I came across a tweet asking for submissions, and read about it being hand stitched , I knew I wanted it – and to be in it, if possible. The magazine editors are Maria Isakova Bennett and Michael Brown. I knew Maria’s name from her poetry, but she is also a fine artist, and the magazine is designed to be a work of art, a beautiful artefact in itself. (Fuselit, edited by Kirsten Irving and Jon Stone, is another handmade, limited edition magazine which I have a few copies of, and they are small things of great wonder.)

When Maria emailed to say they had accepted my submission I was excited for several reasons – firstly obviously to have a poem in the magazine and alongside the work of many fine poets, secondly because this particular poem has been in development for A Very Long Time, and lastly because the launch event is at the Open Eye Gallery in Liverpool, it means I get a good reason to go visit.

“The greatest team in Europe…”

When I was a teenager I worshipped Liverpool FC. My girlfriends and I were happy talking about Kevin Keegan all day. I never saw my team play at home, because a journey to Liverpool was inconceivable – at that time I lived in London and I’d never been north of Derby. But I recorded each season’s match results religiously in my diary, an early version of which also bizarrely contained a ‘Club News’ section, written up in my best fourteen-year-old’s sports journalist style, even though no-one read it but me!

diary extract

Although I’ve only been twice to Liverpool, the thought of going up there in December to hear some lovely poetry, in an art gallery, to stay the night in the city and to take away a handmade piece of art fills me with a ridiculous amount of joy. Ironically I don’t follow football any more.

So what about the 28 drafts?

The poem features a fur, or an alleged fur – depending on how you read it (perhaps it was always destined to appear in a tactile/textile magazine?) Anyway, the first draft was in 2011, and looking at the computer folder I see it has had 28 drafts and six different titles over the last seven years. This has to be a record for me. I know I workshopped it at least three times, each time resulting in my thinking it rubbish and putting it away. I submitted it several times in the early days, but stopped over the years as I lost confidence in it. But I couldn’t give up on it entirely. This year I got it out again for more redrafting. It felt much better – as if I’d had to grow into the poem. And now it’s finally found a home, and I’m absurdly grateful.

Hurrah for the handmade and the labours of love!

Another reason to track poetry rejections

Thank you to everyone who requested the PDF of submissions windows, and all the lovely comments. I’m very pleased that it’s useful. Thank you also for the corrections and additions you’ve given me. There are a couple more publications I’ve since realised should be on the list. I’ll add them when I do an update.

Meanwhile, I was just updating my own submissions record and thought you might find this interesting – when a poem is accepted somewhere, I go back and highlight all the times it had been rejected beforehand (or versions of the same poem). This reminds me that what might not work for one journal can still work for another.

In the screenshot above I’ve blurred out the journal and poem titles but basically it shows a list of the poems I had rejected in the first half of 2015, and those highlighted in yellow were subsequently published elsewhere – some only just recently. I find around a third of rejected poems still go on to get published, albeit in some cases after a bit more work.

So basically the lesson is not to give up on a poem, if you believe in it, just because it’s been rejected a couple (or more) times.

New – List of UK poetry magazine submission windows

It’s been a while since I updated my last year’s post on this topic and I decided it was worth starting from scratch, as a few web addresses and/or submissions policies had changed, plus it’s given me a chance to review them all. As a result I’ve now got a list of 48 UK (well, one or two Europe/non-UK) poetry journals (some also include fiction, reviews, artwork etc in their pages, but I’ve tried to focus on poetry-led publications.) The list includes:

  • a link to their poetry submissions page
  • regular windows/ dates when you can submit, and/or next ‘open window’ (where available). I’ve also included a couple of mags that I’ve mentioned before but that now appear to be closed.
  • how many poems to send
  • whether they accept simultaneous submissions
  • submissions method (eg email, Submittable, post)
  • notes of anything unusual, eg no responses sent

You still need to visit the submissions pages as some of them are VERY long and specific!

Caveat

There’s an element of recommendation here; it’s not a comprehensive list of magazines. The majority of them I’ve either read, submitted to, or both. There are a few that have been recommended, and which look good. I’m always happy to hear of others – I’m sure there are tons more, please feel free to tell us in the comments if you want to mention any – and if it’s a publication I’d consider submitting to myself then I’ll add it to the list when I update it.

Beat ‘overwhelm’ with a system that suits you

This may look like a daunting list. More and more magazines have submissions windows, and some give little notice of openings, so you may need to follow them on social media or by email in order to be ‘in the know’. As I’m sure I’ve said before, I recommend having a system for keeping track of submissions – I use a good old-fashioned spreadsheets but there are other tools, some more user-friendly than others.

Submitting to magazines: workshop in Lewes, East Sussex

One more thing I’d like to mention – if you’re within travelling distance of Lewes, there’s a workshop coming up called ‘Poetry Submissions Without Tears’ being led by Janet Sutherland and Maria Jastrzębska. They say it’s a ‘hands-on workshop for beginning and more experienced poets on submitting to poetry magazines and anthologies’. It’s on October 21st and full details are here. Janet and Maria are experienced poets who walk the talk, as well as being all-round nice and generous people, so if you’re even slightly unsure about the whole submissions process then this is for you.

List of UK poetry magazines and their submissions windows, etc

There are a few European (non-UK) journals on the list, mainly because they seem to take poems from UK poets, or they just happen to be on my radar.

I’ve done the complete list as a free PDF download. Here are some example listings:

The North – currently open, but closing September 1st. Submit up to 6 poems by post only (so be quick!). No stated policy on simultaneous submissions.

Agenda – currently open, but could close any time. Submit up to 5 poems, by email only. No stated policy on simultaneous submissions.

The Rialto – submit any time, via Submittable or by post. Send up to 5 poems. Simultaneous submissions – OK.

Ink, Sweat & Tears – recently moved to submissions windows – the next opens 2nd October. Send 4 – 6 poems (‘no more, no less’) by email only. No simultaneous submissions.

Get the full list

I’ve created this as a spreadsheet and saved it as a PDF with live links, which I hope makes it easier to work from. It’s also a lot less work for me than to reproduce the whole list on a blog post! I’d be happy to share it with you – please email me if you’d like a copy (I’d rather you didn’t just ask in the comments as that’s harder for me to monitor. Thanks!)

Roundup: 16 US poetry journals with submissions details

In my last post I explained that although I haven’t seriously tried submitting to US poetry journals, I’d like to, and have started doing the research.

What follows here is a list of sixteen journals – obviously far from comprehensive, but it’s a starting point. Many of these publications have large, rich websites with articles, features, blog, podcasts, archives and more. There are also competitions and other opportunities alongside general submissions (which is my focus on here). So do go explore.

I did end up cutting a few of the titles when I discovered they were either not seeking work from abroad, or their websites or submissions processes were just too clunky or broken to manage, or I wasn’t confident they were still active and current.

In general: assume that all magazines require original, previously unpublished work. Always wait for a response before submitting more material. I also recommend reading at least a sample of the work they publish before submitting.

Atlanta Review

Print only, twice yearly.

Editor: Karen Head

What they say:

Atlanta Review, an international, award-winning poetry journal based in Atlanta, Georgia, has been published biannually since 1994. Located in the Georgia Institute of Technology.

We publish poems, not poets. (All submissions are read blind.)

Our Spring/Summer Issue is guest edited with poems curated from living poets in specific regions or countries in the world.

Poetry submissions:

No more than 5 poems per submission, only one submission per submission period (deadlines June 1st and December 1st) – more details on the Atlanta Review Submittable page. General online submissions fee is $3 (but free if you submit by post.) They aim to respond within 4 months. This is a print-only journal published twice-yearly.

Payment? Unclear.

 

The Baltimore Review

Online, quarterly.

Senior Editor: Barbara Westwood Diehl  (17 other editors are listed)

What they say: 

The Baltimore Review was founded by Barbara Westwood Diehl in 1996 as a literary journal publishing short stories and poems, with a mission to showcase the best writing from the Baltimore area, from across the U.S., and beyond. Our mission remains just that.

In 2012, The Baltimore Review began its new life as a quarterly, online literary journal.

Poetry submissions:

Submission periods are August 1 through November 30 and February 1 through May 31. The theme for the Winter 2018 contest is “Food.” Deadline: November 30.  Non-theme, non-contest submissions will also be accepted throughout each submission period. Simultaneous submissions are accepted.  Response time – from 1 to 4 months.

More details on The Baltimore Review Submittable page.

Payment? Non-contest submissions:  a copy of the annual compilation in which the author’s work appears, and a small payment ($40 Amazon gift certificate or $40 through PayPal, if preferred). “We also nominate our contributors’ work for every possible prize, and we send copies of the print compilation to the Best American series and other prize anthologies.”

Sample poem: ‘Bone’, by Leslie Adrienne Miller.

Blackbird

Online, twice yearly.

Senior Editors: Gregory Donovan & Mary Flinn

What they say:

Blackbird: an online journal of literature and the arts offers visitors from around the world outstanding fiction, poetry, nonfiction, and reviews, as well as plays, visual art, new media, and video essays.

We believe that contributors should be paid—as a gesture of respect—as we endeavor to give their work and their lives as artists our sustained support and attention by taking note of their ongoing accomplishments.

Blackbird was founded in 2002 as a joint venture of the Virginia Commonwealth University Department of English and New Virginia Review, Inc.

Poetry submissions:

Send up to 6 poems at a time. Next reading period is from November 15, 2017 to April 15, 2018. Simultaneous submissions acceptable as long as they are ‘indicated as such’. Online submissions preferred – full details here.

Payment? Yes, but unclear what.

Sample poem: ‘I know who you are’, Dana Crum

 

By&By Poetry 

Online, quarterly.

Editor: Jason Sears

What they say:

By&By Poetry, founded in 2015, aims to provide an eclectic online showcase for both established and up-and-coming poets. We aspire to shape By&By into a celebration of poetry, a place where poets can congregate, read, and be heard….

“By and by” evokes the humid warmth of Southern hymns, the comfort of a grandmother or grandfather, the all-encompassing belief in the future. A term that once denoted a sense of immediacy, “by and by” now implies an eventual hereafter.

Poetry submissions:

Accepted year-round via Submittable (no fee). No more than 5 poems at a time. Include a cover letter, short bio and something about why you think these poems are a good fit with By&By. No payment for publication, but the editors “aim for a speedy seven day turnaround time. If we haven’t reached out to you within a month, feel free to gently prod us into action via Submittable.”

Payment? None.

Sample poem: ‘Pruned’, by Nicole V Bastia

 

The Carolina Quarterly

Print, twice yearly. Selected content published online also.

Editor: Moira Marquis

What they say:

The Carolina Quarterly has been publishing established and emergent writers for 65 years. It features a variety of poetry, fiction, essays, reviews, and artwork.

Poetry submissions:

Submissions are accepted year round, both by mail and through Submittable. ($2.50 fee.) No more than 6 poems at a time. Expect four to six months for a decision. Simultaneous submissions are OK but let them know if your work is accepted elsewhere.

Payment? Unclear.

Sample poem: ‘The Mudsuckers’ by Lindsay Wilson

 

Coal City Review

Annual. Thanks to Maggie Sawkins for suggesting this.

Editor: Brian Daldorph

What they say:

Since 1990, Coal City has published 20 annual reviews and 7 collections of poetry. Our contributors are tall, short, male, female, American, foreign, rich, poor, free, imprisoned, discontented, contented, rural, urban, suburban, liberal and not-so-liberal.  The traits they share are curiosity, compassion, insight and fierce commitment to good writing.

Poetry submissions:

Coal City Review welcomes submissions of literary poetry and short stories throughout the year. Send up to 6 poems. NB All submissions by SNAIL MAIL ONLY – see the submissions page for details.

 

Copper Nickel

Print, twice yearly. Selected content published online also.

Managing Editor: Wayne Miller

Poetry Editors: Brian Barker and Nicky Beer

What they say:

Copper Nickel is the national literary journal housed at the University of Colorado Denver—was founded by poet Jake Adam York in 2002. Work published in Copper Nickel has appeared in the Best American Poetry, Best American Short Stories, and Pushcart Prize anthologies, and has been listed as “notable” in the Best American Essays anthology.

Poetry submissions:

Submissions accepted from August 15 to March 15. Please submit four to six poems at a time. Simultaneous submissions OK but let them know if accepted elsewhere. They try to respond to all submissions within eight weeks, though response times can be longer—particularly in the late spring and summer. Submittable page (no fee).

Payment?

Starting with the spring 2017 issue, Copper Nickel pays $30 per page + contributors copies + a one-year subscription. (Per-page payment could vary slightly from year to year, based on funding.)

They also award a $500 prize per issue – the Editors’ Prize in Poetry -for what they consider to be the most exciting work in each issue, as determined by a vote of in-house editorial staff.

Sample poem: ‘New You’ by Allison Campbell

The Florida Review

Print, twice yearly. The sister online magazine is Aquifer.

Editor & Director: Lisa Roney

Poetry editor: Kenneth Hart

What they say:

The Florida Review publishes exciting new work from around the world from writers both emerging and well known. We are not Florida-exclusive, though we acknowledge having a jungle mentality and a preference for grit, and we have provided and continue to offer a home for many Florida writers. We have been in more or less continuous semi-annual print publication since 1975 and have recently (2017) added a new literary supplement in Aquifer: The Florida Review Online, which will feature new literary works on a weekly basis, as well as author interviews, book reviews, and digital storytelling.

We are looking for innovative, luxuriant, insightful human stories—and for things that might surprise us. We like writing that takes risks, affects us deeply, and yet also meets the highest standards of beautiful language and  syntax that supports the meaning of the work.

Poetry submissions:

International submissions are welcome via Submittable. Interested in well-crafted poems that sing and take risks—in style or subject. Traditional forms and free verse, any length. Send no more than 5 poems at a time. They strive to respond in 3 to 6 months, though sometimes it takes 8 months. NB read all the submissions guidelines as they are long and specific.

Payment? Starting this year they are awarding modest annual prizes to one non-contest-winner “staff pick” writer in each category (poetry being one).

Sample poem:  Two poems by Betsy Sholl (Aquifer)

 

Indiana Review

Twice yearly, print

Editors-in-chief: Tessa Yang, Su Cho

Poetry editors: Anni Liu, Emily Corwin

What they say:

Now in its thirty-ninth year of publication, Indiana Review is a non-profit literary magazine dedicated to showcasing the talents of emerging and established writers. Our mission is to offer the highest quality writing within a wide aesthetic. Works by contributors to IR have been awarded the Pushcart Prize and reprinted in The Pushcart Prize Anthology: Best of the Small Presses, as well as in Best American Short Stories, Best American Poetry, and The O. Henry Prize Stories.

Poetry submissions:

General submission period is September 1, 2017 to October 31, 2017. Send only 3-6 poems per submission. Simultaneous submissions are welcome. However, you must contact them ASAP if your work has been accepted elsewhere. “Please also note that because we are not influenced by cover letters it is perfectly fine to not include a cover letter with your submission.” Response time is usually 1 – 4 months, but may at times be longer. IR accepts less than half of 1% of work submitted.

Payment?

$5.00 per page ($10.00 minimum) and one year’s subscription, beginning with the issue in which their work appears.

Sample poem: This is a print magazine, but poems appear occasionally on the blog.

 

Kenyon Review

Print (6 issues a year) and digital version – either instead of print or as an optional add-on to print subscription. You can also buy digital versions individual issues.

KR Online is the online sister publication.

Poetry editor: David Baker

What they say:

Building on a tradition of excellence dating back to 1939, the Kenyon Review has evolved from a distinguished literary magazine to a pre-eminent arts organization. Today, KR is devoted to nurturing, publishing, and celebrating the best in contemporary writing. We’re expanding the community of diverse readers and writers, across the globe, at every stage of their lives.

Poetry Submissions:

Send up to 6 poems. Reading period September 15th through November 1st, 2017. Response time: they aim for within 4 months. NB: All submissions are considered for both the Kenyon Review and KROnline. The two are aesthetically distinct spaces – “we urge our submitters to read and become familiar with both.” The submissions page will contain a live link to Submittable when the window opens.

Payment? Yes, but unclear what.

Sample poem (from KR Online): ‘Guerrilla Theory’ by Kien Lam

 

The Manhattan Review

Print – two, possibly 3 issues per year

Editor: Philip Fried

What they say:

Founded in 1980, The Manhattan Review has won praise for its balance of American and international poetry, its distinguished interview series, and its many firsts. In the last decade MR has endeavoured to publish the best contemporary British poetry alongside the work of excellent American poets.

Poetry submissions:

Send 3-5 poems, any time. Avoid simultaneous submissions. Contributors from abroad my send by email. See the full guidelines here.

Payment: no mention of any.

Sample poem:Vasari’s Last Supper’ by Rosalind Hudis

 

Poetry

Print, monthly

Editor: Don Share

What they say:

Founded in Chicago by Harriet Monroe in 1912, Poetry is the oldest monthly devoted to verse in the English-speaking world.

Poetry submissions:

Send no more than 4 poems at a time. Response can take 7 months (they get a LOT of submissions!) Read the full guidelines on their Submittable page.

Payment:

Payment is made on publication at the rate of $10 per line (with a minimum payment of $300), and $150 per page of prose, for first serial rights. All rights will revert to the author upon publication. Authors will also receive two contributor copies of the issue in which their work appears.

Sample poem: ‘Ode with Interruptions’ by Rick Barot

 

Potomac Review

Print, twice yearly

Editor in chief: John W. Wang

Poetry editor: Katherine Smith

What they say:

Rooted in the nation’s capital’s suburbs, Potomac Review is the antidote to the scripted republic that surrounds it. By taking on D.C.’s values of international inclusion, Potomac Review looks out into the world from its lush Potomac River basin, collecting and absorbing the world’s literary diversity. Potomac Reviewseeks literature from emerging as well as established writers around the globe to facilitate in the literary conversation.

Poetry submissions:

Accepted all year round via their Submittable page. Send up to 3 poems. Simultaneous submissions are welcome but contact them ASAP if your work has been accepted elsewhere. They typically respond within four to six months.

Payment?

Two complimentary copies and a 40% discount for additional copies.

 

Radar

Online, four times a year

Editor: Rachel Marie Patterson

What they say:

We publish poems from established and emerging writers and welcome international submissions. Our taste is eclectic; we encourage submitters to read our past issues before sending work.

We are interested in the interplay between poetry and visual media. Each issue features pairings of poetry and artwork, selected by the editors and contributors.

Poetry submissions:

General submissions via Submittable open October 1 through June 30. Send 3 – 5 poems. They aim to respond within a month. From July to September they read submissions for the Coniston Prize, this year judged by Dorothea Lasky.

Sample poem: ‘Biography’ by Erin Malone

 

Rattle

Print, quarterly. All poems also published on the blog, a poem a day.

Editor: Timothy Green

What they say:

….more than anything, our goal is to promote a community of active poets. That means we care as much about submitters as subscribers. Lawyers, landscapers, homemakers, and Pulitzer Prize winners are all treated the same—and we’ve published them all. We only occasionally solicit work, and for representational balance, not prestige. At Rattle, anything always goes. If a poem is accessible, interesting, moving, and memorable, if it makes you laugh or cry, then it’s the kind of poem that rattles around inside you for years, and it’s our kind of poem.

Poetry submissions:

Submit year-round via Submittable. Send up to 4 poems. No fees to submit. Simultaneous submissions are encouraged – “if another journal beats us to the punch, congratulations!” Detailed submissions guidelines are here.

Payment?

Contributors in print receive $100/poem and a complimentary one-year subscription to the magazine. Online contributors receive $50/poem.

All submissions are automatically considered for the annual Neil Postman Award for Metaphor, a $1,000 prize judged by the editors.

Sample poem: ‘This has nothing to do with willpower’ by Ted Jonathan

 

The Seattle Review

Print, twice yearly, publishing long form only

Editor in Chief: Andrew Feld

What they say:

The Seattle Review is a print journal wholly committed to the publication of longer works of poetry, novellas, and lyric essays. It is our belief that this format offers a unique venue for the publication of significant and risk-taking works by both new and established writers.

Poetry submissions:

Accepted all year round via Submittable. There’s a $3 reading fee from June 1 to September 30. A ‘long’ poem means at least 10 pages in length, but there are other criteria – best to read the detailed guidelines here.

Payment? Contributors will receive two copies of the issue in which their work appears, and a year’s subscription to the Seattle Review.

Sample poem: poems occasionally published on the blog.

 

At this point I rather ran out of steam

– but wanted to mention a couple more briefly, even though they didn’t make this particular cut:

Tarpaulin Sky – chaotic website but brilliant and very funny (and that’s just the ‘subscribe to our press’ page). Submissions guidelines are here, although it sounds like they’re not open at the moment. Lots of great alternative, smart & interesting poetry & visuals on the site.

CutBank – I really liked the look of this (print and online) journal based in Montana, but it sounded like they perhaps aren’t looking for submissions from overseas. They say they are “global in scope, but with a regional bias.”

 

At some point I’ll review & update this list and would be happy to add to it – if you have any more suggestions please leave them in the comments.

Also, if you do submit to any of them let us know how it was for you… and I’ll do the same. Thanks.

Submitting to US poetry journals, part 1

You know how it happens – you start following a link, then you get so engrossed in something you end up forgetting about your current ‘to do’ list. So there I was, reading a poet’s biog, I followed a link to a magazine I didn’t recognise, and got thinking ‘hmm, my XYZ poem could work well here’. It was a US online journal, and I remembered I was once going to write a blog post about submitting to US journals, aimed primarily at UK poets.

First of all, an admission: I don’t have a great track record of subscribing or submitting to US journals, but I enjoy Rattle and used to subscribe to Poetry (until they decided to make it very difficult for non-US residents to subscribe).** In the past I’ve never felt confident that my work would fit. Too British. But I’m starting to feel that may be changing.

** UPDATED 21/8 – after hearing from Don Share on Twitter, I can report that Poetry’s online subscription process now accommodates overseas addresses, so I have re-subscribed. Huge thanks to Don – I’m somewhat amazed that the editor of the most famous poetry mag in what was once known as ‘the free world’ should take the time and care to reach out to a humble subscriber. Truly deserving of a Mexican wave around the poetry community.

As with all journals, it’s a good a idea to sample a publication before submitting. This is of course where online magazines come into their own – you can read current and back issues and check out their aesthetic. Also, you’ll often find very specific information about a US journal’s mission and what they welcome (other than the not terribly helpful ‘send us your best work’ which always strikes me as odd. Why would I even want an editor to read and publish something if I don’t feel it represents my best work?)

So how do you start submitting to these magazines?

  1. The Poetry Society of America has a long list of magazines  – this is a great resource but I suspect it hasn’t been updated lately. There are forty-nine journals listed here which have broken links, and some magazines aren’t listed. Still useful though.
  2. Read poet biogs – once you start browsing US poetry magazines you’ll find poems/poets you like, or that you could imagine your work appearing alongside. Read the biogs, see where else they are published, and check out those places.
  3. Start collecting info on a spreadsheet – web address, editor’s name, submission window dates, link to submission guidelines, and so forth. It can then be a monthly task to check what windows are coming up, and decide whether to submit or not.

Deciding where to submit

Not every journal is going to be right for your work, and there may be other reasons why you are attracted to one magazine over another. For example I know I’m influenced by things like the stated response time and whether they use Submittable (which I like). I’m perfectly happy with paying a small reading fee, whereas I know some poets are not.

Getting the information together is a first step. Then I try to narrow it down to a few targets, revisit them and read more, think about what poems I might send them or set a reminder to do this once their window is open.

Personally I like to have a bit of a strategy because I feel it’s the best use of my time. I don’t have that many poems at any one time so a scattergun approach wouldn’t work for me. But I know some poets always have plenty of poems ready to send. If that’s you, and you target magazines who are OK with simultaneous submissions, then you could set aside some time and do a mass send out.

In my next post I’ll be listing some US magazines, with submission details and other info. Depending on how long this turns out to be, it may be more than one post.

Meanwhile, if you have any experiences of US poetry magazines that you’ve submitted to, or considered submitting to, or any stories/advice you’d like to share, do let me know in the comments.

Four magazines, five poets to watch

A slew of poetry magazines have been arriving the last couple of weeks and I’ve enjoyed ‘discovering’ work by new names. Well, new to me anyway – turns out they’re all accomplished poets, but that doesn’t surprise me. I thought I’d share with you a little about each of the magazines, and a contributor or two to each that caught my attention.

Brittle Star has to get the prize for the most interesting covers. They invariably span front and back, with no writing to spoil the image other than on the spine:

Brittle Star 40, August 17

The magazine is run by Martin Parker and Jacqueline Gabbitas on the proverbial shoestring – and for a little mag they are remarkably innovative in finding ways to keep going. Their latest fundraising initiative is to invite readers to support the magazine via Patreon. As they say on their website, “If only 5% of people who follow us on social media donated $2 (about £1.60) a month we’d be half way to hitting our first goal of £750!” Brittle Star is always well produced and they even hold launch readings for every edition. It’s all pretty impressive. Got to be worth $1 or two a month.

Poems that jumped out at me were those by Jack Houston and Barbara Cumbers. Jack’s ‘Separate Towers’ had just the right amount of bonkers humour and painful poignancy to float my boat, with the building of a model cathedral in lolly sticks serving as a metaphor for relationship issues :

Worms may well turn in the earth but we’ll be adhered
to this task until this entire tube of UHU’s been used.

Barbara Cumbers paints a mesmerising picture of a young girl’s quest for control (revenge? stubbornness?) by writing smaller and smaller.

[…]  Once, a teacher set me lines –

I had to write “I must writer bigger” fifty times.
I wrote them on the back of a postage stamp. (‘Small’)

Next, the mighty Magma, with its ten-strong editorial board, administrator and freelance staff, immaculately produced and also with a distinctive look, in particular its square format. I have a love-hate relationship with Magma, partly because I’ve had too many submissions rejected (!), but also because I’ve never been able to get the feel for what the magazine is looking for, or what it’s about – its heart, if you like. It may be down to the fact that the editors rotate and change from one edition to the next.

Magma 68 is on the theme of ‘Margins’, so it’s not surprising that we get a good number of poems on the heartfelt/hardcore spectrum – from protest and despair to death, slaughter and eco-apocalypse. I really warmed to Ellie Danak‘s ‘Dear Lab-Man’, a mysterious love-letter with ‘Fatal Attraction’ written all over it –

[…]
There’s no excuse for my welling up,
strangling all that tubing to spell out LOVE.
My lips can distil blood. Meet me
in the fume cupboard tonight.

But if it’s strangeness you’re after then Obsessed with Pipework is self-proclaimed ‘poetry with strangeness and charm’. It’s another double spread cover this time featuring artwork by Graham Higgins:

Obsessed with Pipework August 17

Obsessed with Pipework is edited by Charles Johnson, and although my poems in this issue sadly lost most of their formatting, I can’t hold it against Charles as he’s been a fine supporter of my work and I owe him one. And besides the poems are all the more strange for it.

I particularly enjoyed three poems by Sue Kindon, of whom I know nothing (and her ‘biog’ in the magazine was sketchy, you might say – although it had strangeness and charm). We have a poem about blockages (actual and metaphorical), while another features a woman on a cruise, on the verge of betraying her husband with the moon –

[…]
I sense that rare blue-eyed look
you keep in reserve, to anchor me.  (‘Anniversary on Board’)

I liked the subverting of nice middle-class themes (‘I’ve chosen something marble-veined / and a safe brie’) with undertones of something much harder-hitting (‘Sacred places are sawn off  […] Old gods wander the desert of dementia’).

And finally Under the Radar, another well-respected and long-running magazine, published by Nine Arches Press and edited by Jane Commane. This edition features a review of The Swell, Jessica Mookherjee’s pamphlet published by Telltale Press last autumn. My eye was also caught by a poem by Julian Dobson, partly because I’d seen his work in Magma and had nearly chosen to mention him then. So, a name I hadn’t met before and then I see it in two magazines. Like me he must have done some serious submitting around six to nine months ago.

In choosing ‘Meet the neighbour’ I’m starting to wonder why I’m drawn to these on-the-face-of-it memoir poems into which you can read as much menace as you like. I once told a poet friend how much I’d enjoyed a poem of hers in ‘The Rialto’ – ‘…it gave me the creeps! Really menacing!’ only to have her reply that it was supposed to be positive and comforting – hmm! So here we have Julian Dobson’s ‘rumple-haired man from the basement flat’ who ‘had a way of vanishing before Dad got home’, while Dad has

No truck with stories, a reddening head
bursting with hellfire and helplessness.
We found crevices and corners
in the echoing house.

Nonetheless, I find myself worrying for him, and enjoying the not-knowing of the poem.

So there we are – another five poets I want to keep an eye out for and read more of.

I should add that these were contributor copies, apart from Under the Radar which was a a publisher copy. I do subscribe to magazines but I limit it to one or two mags per year, on a rotating basis. I know it’s expensive to support all the myriad poetry mags out there, and this is my tactic to do so in an affordable manner. It’s not only interesting to keep an eye on new writing, but it also informs my submissions – where to send, which magazine would a poem suit, that kind of thing.

Readings, launches & other poetry news

There’s been a flurry of poetry events lately and lovely things happening.

Hastings Stanza reading

A couple of weeks back the Hastings Poetry Stanza had its second evening of readings as part of the St Leonards Festival. Somehow we all crammed into the bijou bookshop The Bookkeeper, the proprietors of which are extremely supportive of local poetry and generously laid on drinks and nibbles. The heard a wonderful variety of styles and subject matter, from Gavin Martin’s hilarious riff-rant on Liam Fox to some understated and moving work from Andrea Samuelson.

Huge thanks as ever to Antony Mair for managing everything so calmly and efficiently. A most convivial (& warm in every sense of the word) event – and somehow I managed to spill three glasses of wine before a drop had even passed my lips. Serves me right for wearing white trousers.

Clare Best book launch

Last Thursday I was at the newly-opened Depot in Lewes on what felt like the hottest day of the year for the launch of Springlines, the book of Clare Best’s collaboration with artist Mary Ann Aytoun-Ellis. We heard some short readings, enjoyed a rolling slide show of the photos and artwork from the book, shots of Clare’s notebooks (I enjoyed these particularly!) plus photos of previous events around the project. Two years ago I saw the exhibition at Glyndebourne of some of Mary Ann’s paintings and Clare’s poems and it was magnificent. Some of these, together with new work, is currently on show at Tunbridge Wells Museum. Do go see it if you’re anywhere nearby.

In the capacity of my ‘day job’ I’ve recently finished a revamp of Clare’s website – also worth a visit, especially for the lovely recordings Clare has made of several of her poems.

A bit about singing

By the way I passed my singing exam – despite a pathetic showing in the sight-reading test I managed to ‘perform’ the songs convincingly. Today I’m singing with Eastbourne Choral Society in their summer concert (summer is traditionally ‘easy listening’ – show medleys, a bit of Gilbert & Sullivan, John Rutter’s folk-song medley ‘Sprig of Thyme’ etc). It sometimes seems as if both choral singing and poetry take a hiatus in the summer on the assumption that no-one is around during the school holidays, so there’s inevitably a big spree of launches/readings/concerts/festivals before the end of June & July.

Speaking of which…

Magma launch

Magma 68 is having a launch event at the London Review Bookshop on Friday 28th July. I’m hoping to combine reading a poem there with a visit to the Hokusai exhibition at the British Museum as it’s just around the corner from the bookshop. It’s the first time I’ve had a poem in Magma so I’m excited about this.

A bit about acceptances & rejections

I’ve had a huge amount of luck this year and it’s a strange feeling to have so many poems in the ‘forthcoming’ pile.

This week I heard that The Rialto are taking two poems for their August issue. This kind of news is always reassuring. Believe me, I get as many rejections as the next poet – I make a point of mentioning all of them here in order to show the real situation, not a sugar-coated one. But I also mention the acceptances, to show that persistence can sometimes pay off. The two poems that The Rialto liked have both been rejected elsewhere, one in particular has been floating around for three years, been rejected by six magazines and got nowhere in two competitions. I have certainly tweaked it from time to time, in between sending out. But not substantially.

I currently have five poems in the ‘recently rejected/review and re-send’ file – three came back from The Poetry Review (I can only try!), one from The Rialto and one from Poetry News. It’s now a question of do I have anything newer that’s ready to go, or do I ‘review and re-send’? Historically I tend not to send something out right away but let it sit and stew for at least a few months. So maybe I’ve answered my own question there.