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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 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. 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. 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 academic papers that haven’t yet been revised for a literary 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, send your submission to annuletpoetics@gmail.com.

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, 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 bottom 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), we would be happy to consider reviews of the following titles:


Jordan Abel, Empty Spaces. Yale University Press (2024)
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)
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)
Blair Austin, Dioramas. Dzanc Books (2023)
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)
Quenton Baker, ballast. Haymarket Books (2023)
Gabrielle Bates, Judas Goat. Tin House Books (2023)
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)
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)
Remica Bingham-Fisher, Room Swept Home. Wesleyan University Press (2024)
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)
Basil Bunting, ed. Alex Niven. The Letters of Basil Bunting. Oxford UP (2022)
Marty Cain, The Prelude. Action Books (2023)
Chris Campanioni, Windows 85. Roof Books (2024)
Karel Čapek, Krakatit. Snuggly Books (2024)
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)
Stephanie Choi, The Lengest Neoi. University of Iowa Press (2024)
Anthony Cody, The Rendering. Omnidawn (2023)
Maure Coise, Structuring Information. Inside the Castle (2023)
Mike Corrao, Surface Studies. Action Books (2024)
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)
Rachel Blau DuPlessis, A Long Essay on the Long Poem. Alabama University Press (2023)
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)
Vievee Francis, The Shared World. TriQuarterly Books (2023)
Hannah Freed-Thall, Modernism at the Beach: Queer Ecologies and the Coastal Commons. Columbia UP (2023)
Tracy Fuad, Portal. University of Chicago Press (2024)
Edgar Garcia, Emergency: Reading the Popol Vuh in a Time of Crisis. The University of Chicago Press (2022)
Lucía Hinojosa Gaxiola, The Telaraña Circuit. Tender Buttons Press (2023)
Annelyse Gelman, Vexations. University of Chicago Press (2023)
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)
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)
Kelly Hoffer, Undershore. Lightscatter 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)
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)
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)
Cyrée Jarelle Johnson, Watchnight. Nightboat Books (2023)
Jessica E. Johnson, Metabolics. Acre Books (2023)
Gayl Jones, White Rat. Beacon Press (2024)
Janine Joseph, Decade of the Brain. Alice James Books (2023)
Fady Joudah, [...]. Milkweed Editions (2024)
Franz Kafka, trans. Ross Benjamin. The Diaries of Franz Kafka. Schocken Books (2023)
Dan Kaplan, 2.4.18. Spuyten Devil (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)
Jaamil Olawale Kosoko, Black Body Amnesia: Poems and Other Speech Acts. Wendy’s Subway (2022)
Jonathan Kramnick, Criticism and Truth: On Method in Literary Studies. University of Chicago Press (2023)
Ágota Kristóf, trans. Nina Bogin. The Illiterate. New Directions (2023)
Mike Lala, The Unreal City. Tupelo Press (2023)
V.R. “Bunny” Lang, The Miraculous Season: Selected Poems, ed. Rosa Campbell. Carcanet (2024)
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)
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)
Sally Wen Mao, Kingdom of Surfaces. Graywolf Press (2023)
Sara Marcus, Political Disappointment: A Cultural History from Reconstruction to the AIDS Crisis. Harvard UP (2023)
Emily Martin, My Salvation Lateral. The Elephants (2024)
Dawn Lundy Martin, Instructions for the Lovers. Nightboat Books (2024)
Monica McClure, The Gone Thing. Winter Editions (2023)
Rose McLarney, Colorfast. Penguin Random House (2024)
Deborah Meadows, Bumblebees. Roof Books (2024)
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)
J. Michael Martinez, Tarta Americana. Penguim Random House (2023)
Holly Melgard, Read Me: Selected Works. Ugly Duckling Presse (2023)
Dunya Mikhail, Tablets: Secrets of the Clay. New Directions (2024)
Hope Mirrlees, Paris: A Poem. Faber & Faber (2022)
Khashayar “Kess” Mohammadi, Daffod*ls. Pamenar Press (2023)
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)
Saretta Morgan, Alt-Nature. Coffee House Press (2023)
Fred Moten, perennial fashion presence falling. Wave Books (2023)
Alicia Mountain, Four in Hand. BOA Editions (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)
Jesse Nathan, Eggtooth. Unbound Edition Press (2023)
Uche Nduka, Bainbridge Island Notebook. Roof Books (2023)
Diana Khoi Nguyen, Root Fractures. Scribner (2024)
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)
Angela O’Keeffe, The Sitter. Zerogram Press (2024)
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)
Jena Osman, A Very Large Array: Selected Poems. DABA (2023)
Gabriel Palacios, A Ten Peso Burial For Which Truth I Sign. Fonograf Editions (2024)
Chus Pato, trans. Erín Moure, A Poem Thinks Itself Out In Final Lines / Un poema pénsase con versos finais. Parmenar Press (2023)
Lance Phillips, Devil-Fictions. BlazeVOX Books (2023)
Elizabeth Robinson, Excursive. Roof Books (2023)
Allison C. Rollins, Black Bell. Copper Canyon Press (2024)
m.s. RedCherries, Mother. Penguin Random House (2024)
Martin Riker, The Guest Lecture. Grove Press/Black Cat (2023)
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)
Sofia Samatar and Kate Zambreno, Tone. Columbia University Press (2023)
Robyn Schiff, Information Desk: An Epic. Penguin Random House (2023)
Yael Segalovitz, How Close Reading Made Us: The Transnational Legacy of New Criticism. SUNY Press (2024)
Charif Shanahan, Trace Evidence. Tin House Press (2023)
Brenda Shaughnessy, Tanya. Knopf (2023)
Reginald Shepherd, The Selected Shepherd. University of Pittsburgh Press (2024)
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)
Patricia Smith, Unshuttered. TriQuarterly Books (2023)
Jennifer Soong, Comeback Death. Krupskaya (2024)
Serena Solin, The Stay Behind. Beautiful Days Press (2023)
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)
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)
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)
Jean Valentine, Light Me Down: The New and Collected Poems. Alice James Books (2024)
Morgan Võ, The Selkie. The Song Cave (2024)
Danielle Vogel, A Library of Light. Wesleyan University Press (2023)
Asiya Wadud, Mandible Wishbone Solvent. University of Chicago Press (2024)
Gunnar Wærness, trans Gabriel Gudding. Friends with Everyone. Actions Books (2024)
Robert Walser, trans. Kristofor Minta. My Heart Has So Many Flaws: Early Poems. Sublunary Editions (2024)
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)
Diane Williams, I Hear You’re Rich. Penguin Random House (2023)
Candace Williams, I Am the Most Dangerous Thing. Alice James (2023)
Elizabeth Willis, Liontaming in America. New Directions (2024)
Milo Wipperman, Joan of Arkansas. Ugly Duckling Presse (2023)
Yarrow Yes Woods, Death And. Inside the Castle, 2023.
Shirley Lau Wong, Poetics of the Local: Globalization, Place, and Contemporary Irish Poetry. SUNY University Press (2024)
Grzegorz Wróblewski, trans. Piotr Gwiazda, Dear Beloved Humans. Diálogos Books (2023)
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.