Submissions Guidelines   

For all submissions:
  • Send your submission as one single Word document or PDF, especially if your work is formally or spatially-reliant.
  • Include your name either in the document name or as a header.
  • We ask that you wait until you hear back from us to submit again, which includes sending a second submission in another form/genre. Please send work no more than twice a year. Multiple submissions beyond two per year (from the date of your first submission) will not be read or receive a response. 
  • In your email subject line, please follow this phrasing:
    “Poetry Submission: Title, ex. Five Poems” (no need to list all poem titles, or include the ‘Title. ex.’!); “Prose Submission: Title”; “Annulet: On Text Considered”; “Comparative: On Title/Thing and Thing/Title”; “Review: Title by Author of Book”; Translation: “Five Poems/Pieces/Stories by Author Name”; “Comment: Topic”; “Paean: Title”; “Garland: On Writer’s Name”; or, finally, “Essay: Title”.
  • We aim to have a three month response time—though as Annulet is a small operation, this is often aspirational in practice. Know that if you have not heard from us, your submission is still under consideration. We appreciate your patience very much.
  • Please indicate if your work is simultaneously submitted in your cover letter. If part of your submission is accepted elsewhere, please write and withdraw your piece(s) promptly as a reply to your original submission. Do not send a separate notification email—let’s keep it all on one thread.
  • While not essential, you may include a brief bio note with your submission.
  • If you are sending work with a form that’s indented as “justified,” please take note that we might not be able to replicate it exactly, or that we might need to reproduce the text as an image for the site.
  • We eagerly read translations into English of works originally composed in other languages in any of our genres. Submissions should follow the guidelines as specified in the category descriptions below. Translators are asked to ensure that publication rights and author permissions have been secured before sending their work for our review.
  • For all reviews and essay submissions which include quotations from the text considered, or other texts, please include in-text page number citations (7) and a Works Cited after your essay’s conclusion.
  • At this time, Annulet cannot offer payment for the work we publish. As the project grows, this is something we hope to amend in the future.
  • Once you have reviewed your genre-specific guidelines, send your submission to annuletpoetics@gmail.com.

  • Please submit up to five poems at a time. Length is as you please.

  • There is no word count minimum. The maximum word count should be within respectful reason. No full-length novels, please.
  • If you are submitting multiple prose pieces, please send no more than three per submission. If your prose pieces are each less than a page, you can submit up to five per submission. 
  • We don’t distinguish between short prose and flash fiction: please keep this in mind should you consider the term a critical designation for your work. If it is important to you that your writing be published as flash specifically, it more likely belongs in an outlet that names it as such.
  • In your cover letter, please designate whether you consider your piece to be fiction, nonfiction, prose, or something else. Genre fiction would best be sent elsewhere.

  • An annulet, as we define the form, is a short-form close reading of one poem or one prose passage that is scholarly in approach and convivial in delivery.
  • Poems or prose passages considered may come from any point in the literary record. 
  • You may closely read translations as long as your annulet also considers the text in its original language.
  • Please include a copy, in full, of the text (and its bibliographic information) you are close reading along with your submission. You may send a scan, screenshot, or other files, as long as they are legible.
  • Your annulet should be no longer than 1500 words, no shorter than 850 words.
  • Our interest is much less piqued by canonical poems, or ultra-famous prose passages, unless you’re here to say something tangy about it. Pieces or selections considered must be published in print or online.
  • Selections from conference papers, talks, and lectures are welcome as long as they are not elsewhere in print.
  • When considering what might be a good fit, go for things that might be too weird for peer review.
  • Please include necessary bibliographic information, and please use Chicago style. Endnotes are preferable.

  • Comparative essays consider more than one literary thing in relation with the other, clearly framed and defined.
  • These essays may be longer, but no more than 5000 words.
  • As above, when considering what approach might be a good fit, go for things that are too weird for peer review.
  • Please include necessary bibliographic information, and use Chicago style with endnotes for references.

Reviews, Paeans, Garlands, Comment, & Other Essays

We are interested in rigorous reviews that assess a book for its contexts and methods, its merits or lacunae, and that describe usefully, whether glancingly or in detail, the book’s place in its historical context. Further, we look for reviews that establish a book’s appeal or importance, or, the reason(s) why one should or should not read it. We are not interested in publicity pieces that praise without depth of engagement. We do consider reviews of chapbooks, though only pieces that examine multiple chapbooks by the same author, or of chapbooks that are 40+ pages. Please include bibliographic information before the text of your review begins, and include page numbers after each quotation or excerpt in the text (47, like this). No more than 5000 words; minimum of 1500 words—enough space for consideration in detail. Bibliographic information should follow this format:

Author Name. Title of Book. Publisher’s City: Publisher Name, Year Published. [Total page count of book, ex.], 78 pages.

We consider paeans to be essays that can blend memoir, reading experiences, experiences of place or circumstance, or other reflections that discuss what it’s like to be writing or reading in the world. Include citations and works cited, if utilized. Please send up to 5000 words.

Garlands are literary-critical essays of approximately 3000+ words whose focus is on one writer of poetry or prose who does not have a book or chapbook (above 28 pages) published or under contract. Writers whose work has fallen out of publication also qualify. These pieces are not mere appreciations: garlands should articulate the key, most innovative, or interesting aspects of the writer’s concerns as evinced by elements within their published work in literary periodicals, in print or online, or from that writer’s archive. More than one piece by the writer should be considered, unless the piece is longer than 10,000 words. If the writer is as yet completely unpublished, you must include—with permission—the selection of the writer’s work you discuss along with your essay submission, with the understanding that the work considered might find publication alongside the essay in Annulet

Pieces considered to be a comment include discussion of a timely topic in poetry and poetics, or in the literary world. Comment can look like a long Twitter thread realized into an essay. It can be interventionist, observational, or personal. These are not invitations to be underhanded or (needlessly) combative. As long as its exigence is clear, length is negotiable. Such comments can be published in sync with ongoing debate, not just as part of our biannual issues. Other comment might be akin to poetics statements, or appreciations of texts or authors (as distinct from reviews), for example.

If you have other literary essays that fall outside of these categories, query us. Pitches for any of our discursive categories are also welcome.

In particular though not exclusively (i.e., if you don’t see a title listed, it does not at all mean we aren’t interested—especially if the book has yet to receive its due critical attention), we would be happy to consider reviews of the following titles:

Kweku Akimbola, Saltwater Demands a Psalm. Graywolf (2023
Rosa Alcalá, You. Coffee House Press (2024)
Kazim Ali, Sukun. Wesleyan University Press (2023)
Kimberly Alidio, Teeter. Nightboat Books (2023)
Ahmad Almallah, Border Wisdom. Winter Editions (2023)
Kimberly Quiogue Andrews, The Academic Avant-Garde: Poetry and the American University. Johns Hopkins UP (2023)
Blair Austin, Dioramas. Dzanc Books (2023)
Anna Badkhen, Bright Unbearable Reality: Essays. NYRB (2022)
Quenton Baker, ballast. Haymarket Books (2023)
Gabrielle Bates, Judas Goat. Tin House Books (2023)
Sarah Blake, In Springtime. Wesleyan University Press (2023)
Dan Beachy-Quick, The Thinking Root. Milkweed Editions (2023)
Ariana Benson, Black Pastoral. University of Georgia Press (2023)
Timothy Bewes, Free Indirect. Columbia UP (2022)
Ryan Bollenbach and Kevin Prufer, eds. Jean Ross Justice: On the Life and Work of an American Master. Universty of Houston Press (2022)
Shane Book, All Black Everything. University of Iowa Press (2023)
Daniel Borzutsky, The Murmuring Grief of the Americas. Coffee House Press (2024)
Dionne Brand, ed. Chrstina Sharpe. Nomenclature: New and Selected Poems. Duke UP (2022)
KB Brookins, Freedom House. Deep Vellum Books (2023)
Basil Bunting, ed. Alex Niven. The Letters of Basil Bunting. Oxford UP (2022)
Amina Cain, A Horse At Night. Dorothy: a publishing project (2022)
Marty Cain, The Prelude. Action Books (2023)
Madeline Cash, Earth Angel. Clash Books (2023)
Mary Ann Caws, Mina Loy: Apology of Genius. Reaktion Books (2022)
Theresa Hak Kyung Cha, Exilée and Temps Morts: Selected Works. University of California Press (2022)
Michael Chang, Synthetic Jungle. Curbstone Books (2023)
Anthony Cody, The Rendering. Omnidawn (2023)
Gregory Corso, The Golden Dot, eds. Raymond Foye and George Scrivani. Lithic Press (2022)
Stella Corso, The Green Knife. Rescue Press (2023)
Mary-Alice Daniel, Mass for Shut-Ins. Yale UP (2023)
Kyle Dargan, Panzer Herz: A Live Dissection. TriQuarterly Books (2023)
Lightsey Darst, the heiress / ghost acres. Coffee House Press (2023)
Claire DeVoogd, Via. Winter Editions (2023)
Claire Donato, Kind Mirrors, Ugly Ghosts. Archway Editions (2023)
Timothy Donnelly, Chariot. Wave Books (2023)
Tiff Dressen, Of Mineral. Nightboat Books (2022)
Danielle Dutton, Prairie, Dresses, Art, Other. Coffee House Press (2024)
Russell Edson, Little Mr. Prose Poem: Selected Poems of Russell Edson, ed. Craig Morgan Teicher. BOA Editions (2022)
Joshua Edwards, A Monthly Account of the Year Leading Up to the End of the World, by AGONISTES, Prophet and Fulfiller or The Exhausted Dream. Marfa Book Company (2023)
JJJJJerome Ellis, Aster of Ceremonies. Milkweed Editions (2023)
Hannah Emerson, The Kissing of Kissing. Milkweed Editions (2022)
Jennifer Elise Foerster, The Maybe-Bird. The Song Cave (2022)
Vievee Francis, The Shared World. TriQuarterly Books (2023)
Hannah Freed-Thall, Modernism at the Beach: Queer Ecologies and the Coastal Commons. Columbia UP (2023)
Daisy Fried, The Year The City Emptied: After Baudelaire. Flood Editions (2022)
Elisa Gabbert, Normal Distance. Soft Skull Press (2022)
Edgar Garcia, Emergency: Reading the Popol Vuh in a Time of Crisis. The University of Chicago Press (2022)
Cristina Rivera Garza, trans. Sarah Booker, New and Selected Stories. Dorothy: a publishing project (2022)
Lucía Hinojosa Gaxiola, The Telaraña Circuit. Tender Buttons Press (2023)
Annelyse Gelman, Vexations. University of Chicago Press (2023)
Nicholas Goodly, Black Swim. Copper Canyon (2022)
Thom Gunn, The Letters of Thom Gunn. Michael Knott and August Kleinzahler, eds. Farrar, Straus & Giroux (2022)
Evan Gray, Thickets Swamped in Fence Coated Briars. Garden Door Press (2023)
Saskia Hamilton, All Souls. Graywolf Press (2023)
Elizabeth Hardwick, The Uncollected Essays of Elizabeth Hardwick. NYRB (2022)
Chelsea Harlan, Bright Shade. Copper Canyon (2022)
Destiny Hemphill, Motherworld: A Devotional for the Alter-Life. Action Books (2023)
Sheila Heti, Alphabetical Diaries. Farrar, Straus & Giroux (2024)
Blake Hobby, Alessandro Porco, and Joseph Bathani, eds. The Anthology of Black Mountain College Poetry. The University of Black Mountain College Press (2023)
Anselm Hollo, The Collected Poems of Anselm Hollo. Coffee House Press (2023)
Valerie Hsiung, The only name we can call it now is not its only name. Counterpath (2023)
Hajar Hussaini, Disbound. University of Iowa Press (2022)
Gary Indiana, Fire Season: Selected Essays, 1984-2021. Seven Stories Press (2022)
K. Iver, Short Film Starring My Beloved’s Red Bronco. Milkweed Editions (2023)
Laura Jaramillo, Making Water. Futurepoem Books (2022)
Cyrée Jarelle Johnson, Watchnight. Nightboat Books (2023)
Jessica E. Johnson, Metabolics. Acre Books (2023)
Janine Joseph, Decade of the Brain. Alice James Books (2023)
Franz Kafka, trans. Ross Benjamin. The Diaries of Franz Kafka. Schocken Books (2023)
M.C. Kinniburgh, Wild Intelligence: Poets’ Libraries and the Politics of Knowledge in Postwar America. University of Massachusetts Press (2022)
Eunsong Kim, The Politics of Collecting: Race and the Aestheticization of Property. Duke Univeristy Press (2024)
Ruth Ellen Kocher, godhouse. Omnidawn (2023)
Anna Kornbluh, Immediacy, or The Style of Too Late Capitalism. Verso Books (2023)
Jaamil Olawale Kosoko, Black Body Amnesia: Poems and Other Speech Acts. Wendy’s Subway (2022)
Ágota Kristóf, trans. Nina Bogin. The Illiterate. New Directions (2023)
Mike Lala, The Unreal City. Tupelo Press (2023)
Jessica Laser, Planet Drill. Futurepoem (2022)
Jenna Le, Manatee Lagoon. The University of Chicago Press (2022)
Ben Lerner, The Lights. Farrar, Straus & Giroux (2023)
Erica Lewis, mahogany. Wesleyan University Press (2023)
Wendy Lotterman, A Reaction to Someone Coming In. Futurepoem (2023)
Mae Losasso, Poetry, Architecture, and the New York School: Something Like a Liveable Space. Palgrave Macmillan (2024)
Emily Lee Luan, 回 / Return. Nightboat Books (2023)
Jessica Lewis Luck, Poetics of Cognition: Thinking Through Experimental Poems. University of Iowa Press (2023)
Colleen Lye and Christopher Nealon, eds. After Marx: Literature, Theory, and Value in the Twenty-First Century. Cambridge UP (2022)
Ling Ma, Bliss Montage: Stories. Farrar, Straus & Giroux (2022)
Anthony Madrid, Whatever’s Forbidden the Wise. Canarium Books (2023)
Dora Malech and Laura T. Smith, eds. The American Sonnet: An Anthology of Poems and Essays. University of Iowa Press (2023)
Alexander Manshel, Writing Backwards: Historical Fiction and the Reshaping of the American Canon. Columbia University Press (2023)
Joyce Mansour, Emerald Wounds: Selected Poems, eds. Garrett Caples and Emilie Moorhouse, trans. Emilie Moorhouse. City Lights Books (2023)
Saretta Morgan, Alt-Nature. Coffee House Press (2023)
Sara Marcus, Political Disappointment: A Cultural History from Reconstruction to the AIDS Crisis. Harvard UP (2023)
Sally Wen Mao, Kingdom of Surfaces. Graywolf Press (2023)
Monica McClure, The Gone Thing. Winter Editions (2023)
Rose McLarney, Colorfast. Penguin Random House (2024)
Alicia Mountain, Four in Hand. BOA Editions (2023)
Rania Mamoun, trans. Yasmine Seale, Something Evergreen Called Life. Action Books (2023)
Sabrina Orah Mark, Happily. Random House (2023)
Jennifer L. Freeman Marshall, Ain't I an Anthropologist: Zora Neale Hurston Beyond the Literary Icon. University of Illinois Press (2023)
Aurora Mattia, The Fifth Wound. Nightboat Books (2023)
J. Michael Martinez, Tarta Americana. Penguim Random House (2023)
Holly Melgard, Read Me: Selected Works. Ugly Duckling Presse (2023)
Hope Mirrlees, Paris: A Poem. Faber & Faber (2022)
Jenny Molberg, The Court of No Record. LSU Press (2023)
Trey Moody, Autoblivion. Conduit Books (2023)
Matthew Moore, The Reckoning of Jeanne D’Antietam. University of Nevada Press (2023)
Fred Moten, perennial fashion presence falling. Wave Books (2023)
Cookie Mueller, eds. Chris Kraus, Hedi El Kholti, Amy Scholder. Walking Through Clear Water in a Pool Painted Black, New Edition: Collected Stories. Semiotext(e) (2022)
Jed Munson, Commentary on the Birds. Rescue Press (2023)
Sawako Nakayasu, Pink Waves. Omnidawn (2023)
Vivek Narayanan, After. NYRB Poets (2022)
Jesse Nathan, Eggtooth. Unbound Edition Press (2023)
Uche Nduka, Bainbridge Island Notebook. Roof Books (2023)
Sara Nicholson, April. The Song Cave (2023)
Nicodemus Nicoludis, Multicene. Arteidolia Press (2023)
Alice Notley, Telling the Truth as It Comes Up, Selected Talks & Essays 1991-2018. The Song Cave (2023)
Leah Nieboer, Soft Apocalypse. University of Georgia Press (2023)
Hélio Oiticica, Secret Poetics. Winter Editions and Soberscove Press (2023)
Douglas Oliver and J.H. Prynne, ed. Joe Luna. The Letters of Douglas Oliver and J.H. Prynne. The Last Books (2022)
Caryl Pagel, Free Clean Fill Dirt. University of Akron Press (2022)
Aimee Parkison, Suburban Death Project. Unbound Edition Press (2022)
Lance Phillips, Devil-Fictions. BlazeVOX Books (2023)
Maya Popa, Wound is the Origin of Wonder. W.W. Norton (2022)
Hilary Plum, Excisions. Black Lawrence Press (2023)
Hilary Plum, Hole Studies. Fonograf Editions (2022)
Jhani Randhawa, Time Regime: Poems. Gaudy Boy (2022)
Adrienne Raphel, Our Dark Academia. Rescue Press (2022)
Kenneth Reveiz, Mopes. Fence Books (2022)
Lisa Robertson, Boat. Coach House Books (2022)
Elizabeth Robinson, Excursive. Roof Books (2023)
Allison C. Rollins, Black Bell. Copper Canyon Press (2024)
m.s. RedCherries, Mother. Penguin Random House (2024)
Roger Reeves, Best Barbarian: Poems. W. W. Norton (2022)
Martin Riker, The Guest Lecture. Grove Press/Black Cat (2023)
Gabrielle Octavia Rucker, Dereliction. The Song Cave (2022)
Assotto Saint, Spells of a Voodoo Doll: Collected Works. Nightboat Books (2023)
Leslie Sainz, Have You Been Long Enough at Table. Tin House Books (2023)
C.T. Salazar, Headless John the Baptist Hitchhiking. Acre Books (2022)
Giada Scodellaro, Some of Them Will Carry Me. Dorothy: a publishing project (2022)
Robyn Schiff, Information Desk: An Epic. Penguin Random House (2023)
Claire Schwartz, Civil Service. Graywolf Press (2022)
Charif Shanahan, Trace Evidence. Tin House Press (2023)
Brenda Shaughnessy, Tanya. Knopf (2023)
Brandon Shimoda, Hydra Medusa. Nightboat Books (2023)
Katie Jean Shinkle, Thick City. Bull City Press (2023)
Evie Shockley, suddenly we. Wesleyan UP (2023)
Eleni Sikelianos, Your Kingdom. Coffee House Press (2023)
Dan Sinykin, Big Fiction: How Conglomeration Changed the Publishing Industry and American Literature. Columbia University Press (2023)
Abraham Smith, Dear Weirdo. Propeller Books (2022)
Caleb Smith, Thoreau’s Axe: Distraction and Discipline in American Culture. Princeton UP (2022)
Patricia Smith, Unshuttered. TriQuarterly Books (2023)
Jennifer Soong, Suede Mantis / Soft Rage. Black Sun Lit (2022) 
Violet Spurlock, In Lieu of Solutions. Futurepoem (2023)
Syd Staiti, Seldom Approaches. The Elephants (2023)
Conrad Steel, The Poetics of Scale: From Apollinaure to Big Data. University of Iowa Press (2023)
Bianca Stone, What Is Otherwise Infinite. Tin House Press (2022)
Donna Stonecipher, The Ruins of Nostalgia. Wesleyan University Press (2023)
Timmy Straw, The Thomas Salto. Fonograf Editions (2023)
Jacob Sunderlin, This We In The Back Of The House. Saturnalia Books (2022)
James Tate, The Essential James Tate, eds. Dara Barrois/Dixon, Emily Pettit, and Kate Lindroos. Ecco (2023)
Roberto Tejada, Why the Assembly Disbanded. Fordham UP (2022)
Susan Tichy, North | Rock | Edge. Parlor Press (2022)
Celes Tisdale, ed. When The Smoke Cleared: Attica Prison Poems and Journal. Duke UP (2023)
Steve Tomasula, ed. Conceptualisms: The Anthology of Prose, Poetry, Visual, Found, E- & Hybrid Writing as Contemporary Art. University of Alabama Press (2022)
Anne Waldman and Emma Gomis, eds. New Weathers: Poetics from the Naropa Archive. shimoda Books (2022)
Michael Joseph Walsh, Innocence. Cleveland State UP (2022)
Michael Wasson, Swallowed Light. Copper Canyon Press (2022)
Lindsey Webb, Plat. Archway Editions (2024)
Chaun Webster, Wail Song: or wading in the water at the end of the world. Black Ocean (2023)
Valerie Werder, Thieves. Fence Books (2023)
Lesley Wheeler, Poetry’s Possible Worlds. Tinderbox Editions (2022)
Simone White, or, on being the other woman. Duke UP (2022)
Diane Williams, I Hear You’re Rich. Penguin Random House (2023)
Candace Williams, I Am the Most Dangerous Thing. Alice James (2023)
Ronaldo V. Wilson, Virgil Kills. Nightboat Books (2022)
Milo Wipperman, Joan of Arkansas. Ugly Duckling Presse (2023)
Annie Woodford, Where You Come From Is Gone. Mercer Universiy Press (2022)
Grzegorz Wróblewski, trans. Piotr Gwiazda, Dear Beloved Humans. Diálogos Books (2023)
Jenny Xie, The Rupture Tense. Graywolf Press (2022)
Lynn Xu, And Those Ashen Heaps That Cantilevered Vase of Moonlight. Wave Books (2022)
Yanyi, Dream of the Divided Field. One World (2022)
Anne K. Yoder, The Enhancers. Meekling Press (2022)
Isabel Zapata, trans. Robin Myers. In Vitro. Coffee House Press (2023)

This list is updated often, so check back with it occasionally.

Presses, publicists, or publicity inquiries: if you would like to send physical or digital review copies for consideration, please write to the below email address.

Once you’ve thoroughly reviewed our guidelines, send your submissions to annuletpoetics@gmail.com.

Publication Information:

Rights revert to author upon publication. We respectfully ask that Annulet be credited should a piece that first appeared here be subsequently published in a book, anthology, or other outlet

Annulet is published biannually on a rolling basis.

Dates of Publication:
Issue (1): April 1st, 2021
Issue (2):  January 2nd, 2022
Issue (3): April 30th, 2022
Issue (4): October 9th, 2022
Issue (5): June 3rd, 2023
Issue (6): October 28th, 2023

ISSN forthcoming.