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 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.
  • Once you have reviewed your genre-specific guidelines, send your submission to annuletpoetics@gmail.com.
  • 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.

  • 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.
  • 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 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 4000 words. 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 up to 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)
Sara Deniz Akant, Hyperphantasia. Rescue Press (2022)
Louise Akers, Elizabeth/The Story of Drone. Propeller Books (2022)
Jeff Alessandrelli, And Yet. PANK Books (2022)
Will Alexander, The Contortionist Whisper. Action Books (2022)
Kazim Ali, Sukun. Wesleyan University Press (2023)
Kimberly Alidio, Teeter. Nightboat Books (2023)
Kimberly Quiogue Andrews, The Academic Avant-Garde: Poetry and the American University. Johns Hopkins UP (2023)
Aaron Angello, The Fact of Memory: 114 Ruminations and Fabrications. Rose Metal Press (2022)
Mirene Arsanios, The Autobiography of a Language: Essays and Stories. Futurepoem Books (2022)
Jessica Au, Cold Enough for Snow. New Directions (2022)
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)
E.C. Belli, A Sleep That Is Not Our Sleep. Anhinga Press (2022)
Ariana Benson, Black Pastoral. University of Georgia Press (2023)
Timothy Bewes, Free Indirect. Columbia UP (2022)
Gabriel Blackwell, Doom Town. Zerogram Press (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)
Andrea Brady, Poetry and Bondage: A History and Theory of Lyric Constraint. Cambridge University Press (2021)
Dionne Brand, ed. Chrstina Sharpe. Nomenclature: New and Selected Poems. Duke UP (2022)
KB Brookins, Freedom House. Deep Vellum Books (2023)
Laynie Browne, Translation of the Lilies Back into Lists. Wave Books (2022)
Sommer Browning, Good Actors. Birds LLC (2022)
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)
Jen Calleja, Vehicle: a verse novel. Prototype Publishing (2022)
Tina Cane, Year of the Murder Hornet. Veliz Books (2022)
Daniela Cascella, Chimeras. Sublunary Editions (2022)
Jordan Castro, The Novelist. Soft Skull Press (2022)
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, Almanac of Useless Talents. Clash Books (2022)
Michael Chang, Synthetic Jungle. Curbstone Books (2023)
Jos Charles, a Year & other poems. Milkweed Editions (2022)
Anthony Cody, The Rendering. Omnidawn (2023)
Arda Collins, Star Lake. The Song Cave (2022)
Gregory Corso, The Golden Dot, eds. Raymond Foye and George Scrivani. Lithic Press (2022)
Brenda Coultas, The Writing of an Hour. Wesleyan UP (2022)
Douglas Crase, On Autumn Lake. Nightboat Books (2022)
Mary-Alice Daniel, Mass for Shut-Ins. Yale UP (2023)
Kyle Dargan, Panzer Herz: A Live Dissection. TriQuarterly Books (2023)
Helen DeWitt, The English Understand Wool. New Directions (2022)
Timothy Donnelly, Chariot. Wave Books (2023)
Tiff Dressen, Of Mineral. Nightboat Books (2022)
Russell Edson, Little Mr. Prose Poem: Selected Poems of Russell Edson, ed. Craig Morgan Teicher. BOA Editions (2022)
JJJJJerome Ellis, Aster of Ceremonies. Milkweed Editions (2023)
Hannah Emerson, The Kissing of Kissing. Milkweed Editions (2022)
Ben Estes, ABC Moonlight. The Song Cave (2022)
Jared Daniel Fagen, The Animal of Existence. Black Square 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)
Kay Gabriel, A Queen in Bucks County. Nightboat Books (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)
Annelyse Gelman, Vexations. University of Chicago Press (2023)
Nicholas Goodly, Black Swim. Copper Canyon (2022)
Johannes Göransson, Summer. Tarpaulin Sky (2022)
Thom Gunn, The Letters of Thom Gunn. Michael Knott and August Kleinzahler, eds. Farrar, Straus & Giroux (2022)
Raquel Gutiérrez, Brown Neon. Coffee House Press (2022)
Jorie Graham, [To] The Last [Be] Human. Copper Canyon Press (2022)
Emily Hall, The Longcut. Dalkey Archive (2022)
Robert von Hallberg and Robert Faggen, eds. Evaluations of US Poetry Since 1950, Volume 1: Language, Form, and Music. University of New Mexico Press (2021)
Robert von Hallberg and Robert Faggen, eds. Evaluations of US Poetry Since 1950, Volume 2: Mind, Nation, and Power. University of New Mexico Press (2021)
Elizabeth Hardwick, The Uncollected Essays of Elizabeth Hardwick. NYRB (2022)
Chelsea Harlan, Bright Shade. Copper Canyon (2022)
Marwa Helal, Ante Body. Nightboat (2022)
Destiny Hemphill, Motherworld: A Devotional for the Alter-Life. Action Books (2023)
Sheila Heti, Pure Colour. FSG (2022)
Daisy Hildyard, Emergency. Fitzcarraldo Editions (2022)
Kamden Hilliard, MISSSETTL. Nightboat Books (2022)
Blake Hobby, Alessandro Porco, and Joseph Bathani, eds. The Anthology of Black Mountain College Poetry. The University of Black Mountain College Press (2023)
Harmony Holiday, Maafa. Fence Books (2022)
Matthew Hollis, The Waste Land: A Biography of a Poem. W.W. Norton (2022)
Valerie Hsiung, To love an artist. Essay Press (2022)
Valerie Hsiung, The only name we can call it now is not its only name. Counterpath (2023)
Zora Neale Hurston, You Don’t Know Us Negroes. Amistad (2022)
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)
Lucy Ives, Life is Everywhere. Graywolf Press (2022)
Laura Jaramillo, Making Water. Futurepoem Books (2022)
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)
Ruth Ellen Kocher, godhouse. Omnidawn (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. FSG (2023)
Erica Lewis, mahogany. Wesleyan University Press (2023)
Dong Li, The Orange Tree. The University of Chicago Press (2023)
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)
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)
Alicia Mountain, Four in Hand. BOA Editions (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)
Fernanda Melchor trans. Sophie Hughes, Paradais. (New Directions, 2022)
Jasminne Mendez, City Without Altar. Noemi Pres (2022)
Abby Minor, As I Said: A Dissent. Ricochet Editions (2022)
Hope Mirrlees, Paris: A Poem. Faber & Faber (2022)
Jenny Molberg, The Court of No Record. LSU Press (2023)
Matthew Moore, The Reckoning of Jeanne D’Antietam. University of Nevada Press (2023)
Ottessa Moshfegh, Lapvona. Penguin Press (2022)
Toni Morrison, Recitatif. Knopf (2022)
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)
Sawako Nakayasu, Pink Waves. Omnidawn (2023)
Vivek Narayanan, After. NYRB Poets (2022)
Jesse Nathan, Eggtooth. Unbound Edition Press (2023)
Sara Nicholson, April. The Song Cave (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)
Gabriel Ojeda-Sagué, Madness. Nightboat Books (2022)
Douglas Oliver and J.H. Prynne, ed. Joe Luna. The Letters of Douglas Oliver and J.H. Prynne. The Last Books (2022)
Eugene Otashevsky, The Feeling Sonnets. New York Review of 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)
No’u Revilla, Ask the Brindled. Milkweed (2022)
Kenneth Reveiz, Mopes. Fence Books (2022)
Lisa Robertson, Boat. Coach House Books (2022)
Elizabeth Robinson, Excursive. Roof Books (2023)
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)
Alex Wells Shapiro, Insect Architecture. Unbound Edition Press (2022)
Christina Sharpe, Ordinary Notes. `Farrar, Straus & Giroux (2022)
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 (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)
Jacob Sunderlin, This We In The Back Of The House. Saturnalia Books (2022)
Stacy Szymaszek, The Pasolini Book. Golias Books (2022)
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)
Chaun Webster, Wail Song: or wading in the water at the end of the world. Black Ocean (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)
Emma Wipperman, Joan of Arkansas. Ugly Duckling Presse (2023)
Annie Woodford, Where You Come From Is Gone. Mercer Universiy Press (2022)
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)
Kamelya Omayma Youssef, A book with a hole in it. Wendy’s Subway (2022)
Isabel Zapata, trans. Robin Myers. In Vitro. Coffee House Press (2023)

*This list is often updated, 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 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

ISSN forthcoming.