Radius considers unsolicited submissions of poetry and critical prose that have not been previously published, but our needs are fairly specific, so please read the submission guidelines below, and indicate which area your submission is meant for in your cover letter.
To submit, please visit our submission manager, built and maintained by the nice people at Submishmash. We do not accept simultaneous submissions.
Please send all submissions in one file, and if rejected, please wait two months before submitting again unless specifically entreated otherwise by the editors.
Radius only publishes unsolicited poetry in very specialized areas.
ELEGIES FOR POETS: Poems that reflect the loss of a poet who’s passed on, especially poems that make the reader feel the force of that poet’s absence.
POLITICAL POEMS: A legacy from The November 3rd Club. We’re looking for poems that reflect politics in its broadest form and rise above simple rhetoric, poems that humanize otherwise overwhelming issues, and that touch upon the currents that come when six-billion diverse people attempt to share a planet.
INVENTED FORMS: Poetic forms which, arguably, have never existed before. Please include instructions.
We’re looking for a balancing act, here. Prose needs to be vibrant and energetic, hyperliterate and smart, and most importantly, accessible. Wit and humor are fine and even encouraged, but not at the cost of the artificial self-effacement that pervades a goodly number of online literary blogs and journals, and needless snark is discouraged. An overall measure of respect – even in the face of disagreement and distaste – is an absolute must.
MEMOIRS OF READINGS: Recollections of live poetry events which greatly influenced or affected the author, done in memoir style, with as much detail as possible as to recreate the experience for the reader. The readings don’t have to be recent, and indeed, it’s desirable for poets to reach deep into their memories to pull out recollections of readings which otherwise might be lost.
CRITIQUES OF CONTEMPORARY POETRY: Reviews of contemporary books, e-books, journals and recordings of poetry, with an emphasis on how and why they work (or, in some cases, do not work.) We’re less interested in whether they are “good” or “bad,” so much as what the work does, how it does it, and how it connects to an audience or to the culture. As with everything in Radius, the writing should be lively and accessible. While we want the writing to be smart, clogging the review with overly dense language is discouraged.
CONTEMPORARY POETRY THEORY: Short essays on poetry theory, with an emphasis on how poetry connects to the culture at large.
MEDITATIONS ON RAP: The goal with this feature is to draw direct lines between rap, particularly classic rap albums, and contemporary poetry, through earnest critique devoid of both condescension and hype. Whether rap can be construed as poetry seems almost a dated argument at this point, and indeed, it seems clear that rap has had a tremendous effect on contemporary poetry. What’s more important, for our purposes, is illustrating that connection.
MEDITATIONS ON POETRY AND OTHER ART FORMS: As with rap, there are strong connections between poetry and other art forms – either from collaboration or influence – from song lyrics to visual art and film. We’re interested in explorations of those connections in either critique or memoir form.
BURIED TREASURES: This is a particular brand of review, focusing on works that have been nearly entirely lost to obscurity: chapbooks of poetry that barely exist anymore, old spoken word cassettes, books published on micropresses that are well out of print, things that are entirely in danger of disappearing, but which the critic strongly believes shouldn’t.
COUNTERPOINT: Reactions to discussions of poetry in other periodicals, blogs and journals.