期刊名称：POETRY REVIEW
 期刊简介(About the journal)
投稿须知(Instructions to Authors)
编辑部信息(Editorial Board)
About the journal
Poetry Review is the Poetry Society's internationally acclaimed quarterly poetry magazine, published in March, June, September and December and sent to every full member of the Poetry Society. We also welcome subscriptions to the magazine.
The winter issue, The ghost in the machine, is out now. You can read free sample content here.
You can also browse previous issues using the menu bar on the left, or read more about the magazine's history, below.
Editor Fiona Sampson on the history and current remit of the magazine
First published in The Independent
Poetry Review was founded in 1912. Its first editor was Harold Monro who, in refusing the editorship of the Poetry Society's in-house Poetical Gazette and holding out instead for editorial independence, set the standard for today's journal. Published by the Society and sharing its aim of "helping poets and poetry thrive in Britain today" ¨C a declaration of intent towards all schools and groups of poetry, not merely the fashionable or metropolitan ¨C PR nevertheless comes with that independent room for manoeuvre which is essential if it's to achieve a literary project. Or, to put this in other ways, if it's to be a good read; a protagonist in contemporary poetic practice; an indispensable vade mecum and a marketplace for poetry and poets.
The Gazette was a members' magazine, full of news and listings. In 1916, when William Galloway Kyle took over as editor at Poetry Review, these functions were subsumed into the Review. Kyle was the Poetry Society's founder and Director until his death in 1967 at ninety-two; his editorship lasted for a correspondingly substantial thirty-one years, during which the journal expanded its circulation, found wealthy patrons and established a tradition of interest in American verse. It could also be criminally meretricious. Browsing green-bound volumes for the period to 1947 in the Society's offices, it's hard to find a poet you've heard of, or a critique inspiring full confidence. Happily, Muriel Spark (1947-9) broke this spell and, with the exception of an editorship-by-committee (1952-62), the journal resumed the task Monro had set for it. Since the '70s, well-known editors and poet-editors succeed each other ¨C Adrian Henri, Martin Booth, Anthony Rudolf, Eric Mottram, Edwin Brock, Harry Chambers, Douglas Dunn, Roger Garfitt, Andrew Motion, Mick Imlah ¨C up to those whose versions of the Review I already had on my own shelf at home before taking over: Peter Forbes (1985-2002) and, most recently, Robert Potts and David Herd.
It's a distinguished, though clearly somewhat masculine, list. Each name on it (including guest editors') suggests a distinctive approach, an individual poetic perspective. There are lots of fingers on pulses. If Poetry Review were to lose this kind of topicality, it would become merely part of the literary-critical furniture. Nor, on the other hand, can it operate like a little magazine, fostering fierce partisanship and the kind of exaggerated allegiances which enable groups of poets to withstand the artic blast of the sideline.
And yet of course you are partisan. As a reader, as an editor (who is a certain kind of reader, maybe not Ideal-ised, but certainly an attentive one), you do want certain things from the poems (and the critical reception of those poems) you come across. I am, for example, somewhat uncomfortable with cults and the status of effective unreadability they confer on their objects. I mistrust homogeneity. I've an appetite for the collisions, rather than collusions, of international writing: internationalism is one of Poetry Review's longest traditions. In a Britain where even the arts establishment can look shifty when it comes to poetry, where access to contemporary poets in libraries and on syllabuses is increasingly rationed, Poetry Review - whose readers and subscribers include not only individuals with absolute poetic commitment but those for whom it's their only contact with what's going on - has a robustly colourful role to play in presenting the best of poetry today, in cajoling poets into particular forms of writing, and in nursing contemporary poetry-critical discourse. There may be easier jobs. Few offer such peculiarly sweet rewards.
Instructions to Authors
Advice on submitting to Poetry Review
Beginning poets have a great advantage over other artists: the technical equipment required to make a start consists of A4 paper, a word-processor or typewriter and a pile of SAEs. And once you start you don't have to complete a full length work before you start to get feedback. Three or four short poems sent to a magazines with SAE starts the ball rolling. Magazine editors read all the poems that come in. They do not read all the books and full-length manuscripts.
What to Do
The list of what you should do is very short.
- Send no more than 6 poems.
- Type them.
- Send an adequate SAE for return, ie envelope for A4 folded once.
The list of don'ts is rather longer.
- Don't send your bound collected works or self-printed volumes.
- Don't send your book form whatever publisher unless you have been sending out poems to magazines regularly for a couple of years. Magazines receive perhaps 3000 books in a year, out of which they might review 150-200 at most. The other books are not read, but all individual poems properly presented are read.
- Don't use fancy layouts and typography for the poems and don't illustrate them.
- Don't print your poems in capital letters.
- Don't send long CVs with the poems. If you have already published, say where briefly.
- Don't claim that a famous poet has recommended that you send (even if it's true).
- Don't submit work via e-mail.
Magazines like Poetry Review receive from 30,000-50,000 poems a year from perhaps 5000 poets. Poetry Review prints about 120 poems a year. The odds are long but since every poem is read there is a real chance. There are also hundreds of poetry magazines to try; it's important to read a magazine before you submit to it so you can be sure that your poetry is suitable for that particular publication.
Editorial Board
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