Poetry Review
Robert
The Poetry Review welcomes submissions of unpublished poems and translations of poems. We have a policy of publishing work by new and upcoming poets as well as that of established poets. We receive a high number of submissions and cannot offer any individual criticism, but please be assured that the editor/s read/s all submissions and all poems are considered on an equal basis. Our aim is to accept or reject work within three months and respond to every submission. Please be sure to follow the submission guidelines in order to facilitate our response.
If at all possible, please do not send work via post, as we cannot guarantee a response. If you have no internet access we can accept submissions by post if sent to The Poetry Review, The Poetry Society, 22 Betterton Street, London WC2H 9BX, UK. If you would like us to return your work please include an SAE with sufficient postage.
The Poetry Review receives many thousands of poems of which we print only a fraction. Please do not be discouraged by a rejection from us. You will find an extensive list of other poetry magazines to try on the National Poetry Library website.
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Secondly, throughout the collection you return to circles and loops and cycles as forms and images and gestures, often as a kind of rejection of a linear understanding (of gender, of biography, of history).
Can you speak to one or both of these formal impulses? How do you relate to the physicality of a poem? What is the power that circular form holds for you? For poetry? For gender? For understanding different (perhaps better) ways of existing within ourselves and with others?
ALZ: I am happy to know you see Whitman (whose poetics of self-determination are important to me) and Carson. Other poet-influences are Callimachus via Stephanie Burt, Jos Charles, Jennifer Espinoza, bpNichol, Octavio Paz, Souvankham Thammavongsa. And the artists Cassils, Felix Gonzlez-Torres, On Kawara, Cy Twombly.
market. I find it difficult to willingly participate in the commodification of my own existence and boring to do the same for my art. It can understandably be tempting to simply leverage what the market has given us as a tool to attain influence in a system that oppresses us. But any version of a dream allowed by the market is not, I think, a dream of liberation. As you point out, that is simply a reinvention of the same structures and to see it replicated within communities of the oppressed can feel disheartening even when the intention in asking is a caring one. This sort of explicit testimony regarding oneself is also now an incredibly common part of most funding applications.
A. Light Zachary is a writer, editor, and artist who was recently awarded fellowships for their poetry by the Lambda Literary Foundation and the Banff Centre for the Arts. Their previous publications include the novella The End, by Anna (Metatron, 2016). More Sure is their first book of poems. Light lives in Toronto.
Trevor Ketner is the author of The Wild Hunt Divinations: A Grimoire (Wesleyan University Press, 2023) and [WHITE] (University of Georgia Press, 2021; Broken Sleep Books (UK) 2022) selected as a winner of the National Poetry Series by Forrest Gander. Their chapbooks include Negative of a Photo of Fire (Seven Kitchens Press, 2019), White Combine: A Portrait of Robert Rauschenberg (The Atlas Review, 2019), and Major Arcana: Minneapolis, winner of the Burnside Review Chapbook Contest judged by Diane Seuss. They have been published in Poetry, The Academy of American Poets' Poem-a-Day, Poetry Daily, Brooklyn Rail, New England Review, Ninth Letter, Changes, Diagram, Foglifter, and elsewhere.
Please ensure that you set your e-mail spam filter to allow mail from both southernpoetryreview.org, and edi...@southernpoetryreview.org; otherwise notification regarding your submission may be marked as junk mail.
Submissions also may be mailed to us. Include an SASE for reply. Manuscripts will be returned only if sufficient postage is included. SPR accepts no responsibility for the delay, damage or loss of manuscripts.
The Rented Altar tells the story of a woman in suburban Florida as she marries a man and becomes a stepmother to a young boy, a setting that seems straightforward enough. But this book, as Berry tells me in our Inner Moonlight episode, is a work of horror. The poems are surreal, dream-like, profoundly unsettling, and utterly gripping throughout.
Logen Cure is a queer poet and professor. She curates Inner Moonlight, the monthly podcast reading series for The Wild Detectives in Dallas. She's an editor for Voicemail Poems. She earned her MFA in Creative Writing from the University of North Carolina at Greensboro. Her debut full-length poetry collection, Welcome to Midland (Deep Vellum Publishing, 2021) was shortlisted for the Reading the West Book Awards. She lives in Dallas-Fort Worth. Learn more at www.logencure.com.
Due to the large number of submissions and the competitive level of excellence displayed in so many poems received each year, Valparaiso Poetry Review will be highly selective in choosing pieces for inclusion in each issue, accepting only accomplished, high-quality poetry. Indeed, a number of works that first appeared in VPR have been nominated for special commendation by outside organizations, and some have received honors or been chosen for inclusion in award anthologies.
VPR does not accept postal submissions; only email submissions are permitted. Postal submissions will not be read or returned. Unsolicited manuscripts are welcome year-round. Valparaiso Poetry Review accepts submissions of unpublished poems, book reviews, author interviews, and essays about poetry or poetics for which the rights belong to the author. Translations are not considered for the journal. Very rarely and only in special circumstances, previously published material will be accepted if it is unavailable anywhere else online. If such a submission has been previously published in a print journal or book, the original publication must be identified.
Valparaiso Poetry Review has been recognized over the years with inclusion in acknowledgments for nearly 200 poetry volumes, anthologies, and collections of critical essays where works first published in VPR have subsequently appeared. Since its initial issue in 1999, this electronic journal has been meant to serve as a complement to print issues of literary magazines and poetry collections, not as a replacement for those traditional and greatly valued publications.
Since typographical characteristics occasionally are lost when a poem is included within the text of email, authors are encouraged to send a single Word attachment of the submitted work(s) in electronic submissions or to include a single Word attachment in addition to the text of submissions appearing in the body of the email.
Simultaneous submissions are allowed; however, confirmation of acceptance is regarded as a commitment to publication, and it is expected that the manuscript will not be later withdrawn for placement with another publication. Also, should a submission still pending be accepted elsewhere, the courtesy of immediate notification is expected. Valparaiso Poetry Review retains the right to use the accepted work in future online or print anthologies as well as in the online archives. No monetary payment is available, and all other rights remain with the author.
Due to the heavy volume of submissions Valparaiso Poetry Review receives, response times may vary; nevertheless, VPR attempts to respond to all submissions within two months of receiving the work, usually sooner.
Valparaiso Poetry Review presents poems, interviews, and essays by new, emerging, or well-known poets, including Sherman Alexie, David Baker, John Balaban, Walter Bargen, Claire Bateman, J.P. Dancing Bear, Pam Bernard, Christopher Buckley, Jared Carter, Billy Collins, Mark Conway, Peter Cooley, Alfred Corn, Barbara Crooker, Jim Daniels, William Virgil Davis, Kwame Dawes, Mark DeFoe, Cornelius Eady, Lynnell Edwards, W.D. Ehrhart, Claudia Emerson, Bernardine Evaristo, Patricia Fargnoli, Annie Finch, Daisy Fried, Jeff Friedman, Carol Frost, Brendan Galvin, Reginald Gibbons, David Graham, Jonathan Holden, T.R. Hummer, Colette Inez, Gray Jacobik, Allison Joseph, Adrianne Kalfopoulou, Julia Kasdorf, David Kirby, Dorianne Laux, Laurence Lieberman, Frannie Lindsay, Diane Lockward, Rachel Loden, Amit Majmudar, William Matthews, Walt McDonald, Jeff Mock, Alicia Ostriker, Eric Pankey, Elise Paschen, Kevin Pilkington, Stanley Plumly, Doug Ramspeck, Rochelle Ratner, Lex Runciman, Sherod Santos, Margot Schilpp, Vivian Shipley, Beth Simon, Jeffrey Skinner, Floyd Skloot, Karen Skolfield, Dave Smith, Kate Sontag, Barry Spacks, A.E. Stallings, Virgil Suarez, Barton Sutter, Catherine Tufariello, Brian Turner, Ingrid Wendt, Lesley Wheeler, Charles Wright, and many more.
Valparaiso Poetry Review also offers book reviews and commentary on various poets, including Maggie Anderson, David Baker, John Balaban, Michael Bazzett, Linda Bierds, Elizabeth Bishop, Marianne Boruch, David Bottoms, Jericho Brown, Jared Carter, Carl Dennis, James Dickey, Sharon Dolin, Rita Dove, Rebecca Dunham, Claudia Emerson, Eve Ewing, B.H. Fairchild, Patricia Fargnoli, Beth Ann Fennelly, Ann Fisher-Wirth, Jeff Friedman, Carol Frost, Brendan Galvin, Jorie Graham, Marilyn Hacker, Zbigniew Herbert, Brenda Hillman, Janet Holmes, Cathy Park Hong, Marie Howe, Tom C. Hunley, Donald Justice, Adrianne Kalfopoulou, Ilya Kaminsky, Mary Karr, Ted Kooser, Brad Leithauser, Philip Levine, Larry Levis, Rachel Loden, William Matthews, Campbell McGrath, Susan Mitchell, Gregory Orr, Michael Palmer, Marianne Poloskey, Sherod Santos, Vivian Shipley, William Stafford, A.E. Stallings, Mark Strand, Michael Waters, Charles Wright, James Wright, and others.
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