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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 submission subject line, please follow this phrasing:
    “Poetry Submission: Title, ex. Five Poems” (no need to list all poem titles, or include the ‘Title. ex.’ or quotation marks!); “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. 
  • As of May 2024, we’re working hard to respond to all outstanding submissions, and commit to bringing our response rate back down to approximately three months by the end of 2024. 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), endnotes to each text from which material or a quotation is drawn [1], which correspond to a Works Cited listing each source text after your essay’s conclusion. Please do not send scholarly papers that haven’t yet been revised for a literary-critical journal reading audience.
  • At this time, Annulet regrets that we 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, you can send your work through Submittable. In order to better respond to all submissions received in a timely manner, we have migrated our submissions operations to this submissions platform—we believe it’s for the best. Please only email us with queries. Submissions in full that are sent to annuletpoetics@gmail.com, as of January 1st, 2025, will not be read.   


* Please see our updated information for our “American Poetry & Poetics, 2008–2025” folio!




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

Prose
  • There is no word count minimum. The maximum word count should be within respectful reason. No full-length novels or novellas, 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 or two, 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.

Annulets
  • 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.

Comparatives
  • 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 2000+ 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.

Publication and rights information can be found at the end of this page.

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—Annulet believes that publication schedules and readerly encounters are on very different timelines), we would be happy to consider reviews of the following titles:


Jordan Abel, Empty Spaces. Yale University Press (2024) 
Maya Abu Al-Hayyat, trans. Hazem Jamjoum. No One Knows Their Blood Type. Cleveland State University Poetry Center (2024)

Rosa Alcalá, You. Coffee House Press (2024)
Alexis Almeida, Caetano. The Elephants (2024)
Kimberly Quiogue Andrews, The Academic Avant-Garde: Poetry and the American University. Johns Hopkins UP (2023)
Daisy Atterbury, The Kármán Line. Rescue Press (2024)
Heimrad Bäcker, trans. Patrick Greaney. Documentary Poetry. Winter Editions (2024)
Ulrich Jesse K. Baer, Deer Black Out. Ren Hen Press (2024)
Harriet Baker, Rural Hours: The Country Lives of Virginia Woolf, Sylvia Townsend Warner and Rosamond Lehmann. Allen Lane Books/Penguin UK (2024)
Makalani Bandele, (jopappy and the sentence-makers are) eponymous as funk. Futurepoem (2024)
Oliver Baez Bendorf, Consider the Rooster. Nightboat Books (2024)
Anselm Berrigan, Don’t Forget to Love Me. Wave Books (2024)
Sarah Blake, In Springtime. Wesleyan University Press (2023)
Julia Bloch, Lyric Trade: Reading the Subject in the Postwar Long Poem. University of Iowa Press (2024)
Remica Bingham-Fisher, Room Swept Home. Wesleyan University Press (2024)
Boethius, trans. Peter Glassgold. The Poems from “On the Consolation of Philosophy”. World Poetry Books (2024)
Shane Book, All Black Everything. University of Iowa Press (2023)
Daniel Borzutsky, The Murmuring Grief of the Americas. Coffee House Press (2024)
Tisa Bryant, Unexplained Presence. Wave Books (2024)
Basil Bunting, ed. Alex Niven. The Letters of Basil Bunting. Oxford UP (2022)
Chris Campanioni, Windows 85. Roof Books (2024)
Karel Čapek, Krakatit. Snuggly Books (2024)
Stephanie Choi, The Lengest Neoi. University of Iowa Press (2024)
Cody-Rose Clevidence, The Grimace of Eden Now. Fonograf (2024)
Norma Cole, Alibi Lullaby. Omnidawn (2025)
Christian J. Collier, Greater Ghost. Four Way Books (2024)
Mike Corrao, Surface Studies. Action Books (2024)
Margo Natalie Crawford and C. Riley Snorton, eds. The Flesh of the Matter: A Critical Forum on Hortense Spillers. Vanderbilt University Press (2024)
Amy De’Ath, Not a Force of Nature. Futurepoem (2024) 
Rachel Blau DuPlessis, A Long Essay on the Long Poem. Alabama University Press (2023)
Danielle Dutton, Prairie, Dresses, Art, Other. Coffee House Press (2024)
Marcella Durand and Jennifer Firestone, eds. Other Influences: An Untold History of Feminist Avant-Garde Poetry. MIT Press (2024)
Robert Fitterman, Creve Coeur. Winter Editions (2024)
Jacqueline Feldman, Precarious Lease: The Paris Document. Rescue Press (2024)
Hannah Freed-Thall, Modernism at the Beach: Queer Ecologies and the Coastal Commons. Columbia UP (2023)
Tracy Fuad, Portal. University of Chicago Press (2024)
Lucía Hinojosa Gaxiola, The Telaraña Circuit. Tender Buttons Press (2023)
Annelyse Gelman, Vexations. University of Chicago Press (2023)
Alan Gilbert, The Design of Everyday Life. Winter Editions (2024)
Sara Gilmore, The Green Lives. Fonograf Editions (2025)
Tilghman Alexander Goldsborough, Object 7 ( ,a spirit loosely, ,bundled in a frame, ). Futurepoem (2024)
Raye Hendrix, What Good is Heaven. Texas Review Press (2024)
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)
fahima ife, Septet for the Luminous Ones. Wesleyan University Press (2024)
Kai Ihns, Of. The Elephants (2024)
Gary Indiana, Fire Season: Selected Essays, 1984-2021. Seven Stories Press (2022)
Imani Elizabeth Jackson, Flag. Futurepoem (2024)
Fredric Jameson, Inventions of the Present: The Novel in Its Crisis of Globalization. Verso (2024)
Canese Jarboe, Sissy. Garden Door Press (2024)
Nadia John, Long Form. Hiding Press (2024)
Gayl Jones, White Rat. Beacon Press (2024)
Fady Joudah, [...]. Milkweed Editions (2024)
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)
Ariane Koch, trans. Damion Searls. Overstaying. Dorothy: a publishing project. (2024)
Ruth Ellen Kocher, godhouse. Omnidawn (2023)
Anna Kornbluh, Immediacy, or The Style of Too Late Capitalism. Verso Books (2024)
Jonathan Kramnick, Criticism and Truth: On Method in Literary Studies. University of Chicago Press (2023)
V.R. “Bunny” Lang, The Miraculous Season: Selected Poems, ed. Rosa Campbell. Carcanet (2024)
Jessica Laser, The Goner School. University of Iowa Press (2024)
Naomi Levine, The Burden of Rhyme: Victorian Poetry, Formalism, and the Feeling of Literary History. University of Chicago Press (2024)
Mae Losasso, Poetry, Architecture, and the New York School: Something Like a Liveable Space. Palgrave Macmillan (2024)
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)
Aditi Machado, Material Witness. Nightboat Books (2024)
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)
Emily Martin, My Salvation Lateral. The Elephants (2024)
Dawn Lundy Martin, Instructions for the Lovers. Nightboat Books (2024)
Rose McLarney, Colorfast. Penguin Random House (2024)
Deborah Meadows, Bumblebees. Roof Books (2024)
Jennifer L. Freeman Marshall, Ain't I an Anthropologist: Zora Neale Hurston Beyond the Literary Icon. University of Illinois Press (2023)
Dawn Lundy Martin, Instructions for the Lovers. Nightboat Books (2024)
Aaron McCollough, Salms. University of Iowa Press (2024)
Bianca Rae Messinger, pleasureis amiracle. Nightboat Books (2025)
Dunya Mikhail, Tablets: Secrets of the Clay. New Directions (2024)
Nicholas Molbert, Altars of Spine and Fraction. Northwestern University Press (2024)
Katie Naughton, The Real Ethereal. Delete Press (2024)
Diana Khoi Nguyen, Root Fractures. Scribner (2024)
Alice Notley, Telling the Truth as It Comes Up, Selected Talks & Essays 1991–2018. The Song Cave (2023)
Idra Novey, Soon and Wholly. Wesleyan University Press (2024)
Angela O’Keeffe, The Sitter. Zerogram Press (2024)
Funto Omojola, If I Gather Here and Shout. Nightboat Books (2024)
Jena Osman, A Very Large Array: Selected Poems. DABA (2023)
Gabriel Palacios, A Ten Peso Burial For Which Truth I Sign. Fonograf Editions (2024)
Alyssa Perry, Oily Doily. Bench Editions (2024)
Lance Phillips, Devil-Fictions. BlazeVOX Books (2023)
Jamie Quatro, Two Step Devil. Grove Press (2024)
Nat Raha, apparitions (nines). Nightboat Books (2024)
Allison C. Rollins, Black Bell. Copper Canyon Press (2024)
m.s. RedCherries, Mother. Penguin Random House (2024)
Srikanth Reddy, The Unsignificant: Three Talks on Poetry and Pictures. Wave Books (2024)
Pam Rehm, Inner Voices. Wave Books (2024)
Matthew Rohrer, Army of Giants. Wave Books (2024)
Margaret Ross, Saturday. The Song Cave (2024)
Ryan Ruby, Context Collapse: A Poem Containing the History of Poetry. Seven Stories Press (2024)
Yael Segalovitz, How Close Reading Made Us: The Transnational Legacy of New Criticism. SUNY Press (2024)
Lisa Sewell, Flood Plain. Grid Books (2025)
Jennifer Soong, Comeback Death. Krupskaya (2024)
Eleni Stecopoulis, Dreaming in the Fault Zone: A Poetics of Healing. Nightboat Books (2024)
Conrad Steel, The Poetics of Scale: From Apollinaire to Big Data. University of Iowa Press (2023)
Jacob Strautmann, New Vrindaban. Four Way Books (2024)
Elizabeth K. Switaj. The Articulations. KERPUNKT Press (2024)
Naima Yael Tokunow, ed. Permanent Record: Poetics Towards the Archive. Nightboat Books (2025)
Steve Tomasula, ed. Conceptualisms: The Anthology of Prose, Poetry, Visual, Found, E- & Hybrid Writing as Contemporary Art. University of Alabama Press (2022)
Lyrae Van Clief-Stefanon. Purchase. University of Pittsburgh Press, 2024
Jean Valentine, Light Me Down: The New and Collected Poems. Alice James Books (2024)
Asiya Wadud, Mandible Wishbone Solvent. University of Chicago Press (2024)
Robert Walser, trans. Kristofor Minta. My Heart Has So Many Flaws: Early Poems. Sublunary Editions (2024)
Frank X. Walker, Load in Nine Times. Liveright (2024)
Lindsey Webb, Plat. Archway Editions (2024)
Elizabeth Willis, Liontaming in America. New Directions (2024)
Shirley Lau Wong, Poetics of the Local: Globalization, Place, and Contemporary Irish Poetry. SUNY University Press (2024)
Ariel Yelen, I Was Working. Princeton University Press (2024) 
Amelia Zhou, Repose. Futurpoem (2024)
Maria Zoccola, Helen of Troy. Scribner Poetry (2024)





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.



Publication Information

Rights revert to author upon publication. We respectfully ask that Annulet be credited by that variation of the journal’s name should a piece that first appeared here be subsequently published in a book, anthology, or other outlet. Please ensure that you’re using Annulet rather than “Annulet Poetics,” or our longer name, Annulet: A Journal of Poetics.

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
Issue (7): April 20th, 2024
Issue (8): October 21st, 2024

ISSN forthcoming.