Thank you for thinking of Ragazine!
Ragazine accepts submissions of poetry, photography, reviews, interviews, art, travel stories, creative nonfiction, memoir, informed political commentary (no rants), current events, dance, entertainment, cartoons & illustrations, Letters to the Editor, and more.
Obviously, we’re eclectic, and naturally, we’re looking for the highest quality work we can find. If you have an idea for a submission, but want some kind of affirmation, send a note with “QUERY” in the subject line to , to see if this is something that meets the intent. Carefully read the submission guidelines for each category below before querying or sending any submissions. Submissions that do not comply with guidelines may end up being shot into cyberspace.
* Fiction/Nonfiction/Commentary, Reviews, et al: Double space between paragraphs. Do not indent paragraphs. Best to send using Times New Roman or Calibri, in either Word attachment or in body of email.
* Poetry: We will try as we can to reproduce unusual formatting, but due to some limitations of WordPress, this may pose difficulties.
* Photography & Art Work: Provide titles, medium, size, date, time, place/location, photo credits, and any other information relevant to the work.
* If you do not send one, and if your work is accepted for publication, you will be asked for a short 3-4 sentence bio and a photograph (optional).
* EBSCO Research Database is now including material from Ragazine.CC.
If you’re interested in any of the following opportunities, please contact email@example.com
1) We are looking for an editor for our FREE ONLINE CALENDAR. Entails monitoring and posting events from around the country and the world. Familiarity with WordPress.
2) We are looking for a MARKETING/ADVERTISING/SALES manager. Contact firstname.lastname@example.org for more information.
IN RELATION TO THE NATURAL WORLD …
Ragazine’s creative nonfiction section brings together the kind of writing I like most: grounded, compelling first-person narration set in a concrete time and place that reflects thematically some way on the human relation to the natural world and the ways we’ve transformed that world, and in the process, transformed ourselves. Creative nonfiction is an expansive genre that spans narrative history, literary journalism, narrative nonfiction, the personal essay, memoir, and probably many other sub-categories I’m forgetting. The kind of writing I welcome you to submit to Ragazine should focus on the previously mentioned themes in some broad sense — what is the meaning of contemporary lives and, although they might seem to be detached from nature in our highly mediated, technologically-driven world of the hyper-real, how are they nonetheless grounded in that material reality that surrounds, supports, and enables us?
The Fiction Editor at Ragazine welcomes your prose and will work diligently and honestly in reading (and sometimes offering critiques of) your work.
We’re like work that will sit well on the screen. Take a moment, please, to decide for yourself what this means. We can say, for example, that we’d like work to “pop,” to be “imaginative,” “sharp,” “tight,” etc., but we’d possibly be limiting the variety of work that we love to publish. Simply put: Send us your best work that is completely revised and well-edited .
- Submit no more than one piece at a time; each submitted piece should be no more than 4,000 words, although most of what we publish falls in the 1,500 to 3,000 range. Allow 1-3 months for a response. Feel free to query after 3 months. Adherence to standard submission formatting is appreciated.
- We do not accept submissions via postal mail.
To Renee D’Aoust, whose story “The Line of No Trees” was recognized as NOTABLE by and among Best American Essays… 2016 edition. Read it here: https://www.ragazine.cc/2015/11/renee-daoustcreative-nonfiction/
To Alexis Rhone Fancher, for her poem, “When I turned fourteen, my mother’s sister took me to lunch and said:” … 2016 edition. Read it here: https://www.ragazine.cc/2015/01/alexis-rhone-fancher-poetry/
To Ginger Liu, who received her Master’s Degree from Manchester University, Manchester England, in 2017
To Paul Sohar, on his recent recognitions: “The Wayward Orchard”, a Wordrunner Press Prize winner chapbook (2011). First prize in the 2012 Lincoln Poets Society contest and a second prize from Rhode Island Writers Circle prose contest (2014). Translation prizes: Irodalmi Jelen Translation Prize (2014), Tóth Árpád Translation Prize and the Janus Pannonius Lifetime Achievement Award (both in 2016, Budapest, Hungary).
BOOK REVIEW GUIDELINES:
See Sample Book Review below for correct Ragazine formatting! [Note: reviews not formatted like the sample review below will not be included in Ragazine.] Let’s be clear, it isn’t that your review isn’t worthy; it’s that we don’t have time to gather all pertinent information and then configure it into the proper format. Thank you for understanding. We WANT to hear from you!
If you review good books (poetry, fiction, nonfiction, etc.), send 250, 500, 750, 1,000, 1,500 words or so (previously unpublished reviews, including blogs) reviews of said books for consideration for Ragazine book reviews. Please include with your review the following info:
- Total word count of review
- jpeg of book front cover
- Book author, book title, and year of publication
- Publisher’s name and address and/or website. In other words, how/where to order book
- ISBN #
- Book size, cover type (cloth or paperback), number of pages, retail price. For example:
6” x 9”, paperback, 77 pages ($14.95)
- Please email reviews in 12 point Times New Roman double spaced with 1” margins to:
- Short 50 word or so bio of reviewer
- NOTE: Books in all genres welcome: poetry, fiction, nonfiction, etc.
Look forward to hearing from you!
Book Review Editor
BOOK REVIEW (635 words)
Of Flies and Monkeys (2012)
(Translated by John Taylor)
The Bitter Oleander Press
(6” x 9”, paperback, 285 pages ($24.00)
When Monkeys Fly
Review by Alan Britt
Paul B. Roth is not only a poet, but also a publisher of fine poetry books. Of Flies and Monkeys by the late great French poet, Jacques Dupin, is a recent gem from Roth’s Bitter Oleander Press. Dupin’s 285 page book, which contains French and English texts, is eloquently translated by John Taylor. Dupin, although occasionally translated into English, has been somewhat overlooked by US poets and critics. He is, however, clearly a giant of his generation in France. Along with contemporaries, Yves Bonnefoy, André du Bouchet and Philippe Jaccottet, Dupin continues the amazing run of super poets in France that stretches back generations. Silly to argue who is the greatest poet among a group of super poets, but suffice it to say that Dupin is near the head of the pack. His poems, as evidenced by John Taylor’s splendid translations, are many things at once: heady, earthy, and joyously imaginative. His imagery often echoes Breton, Desnos, Eluard, and at times, even Baudelaire. Take, for example, the following from his book length poem, “Mothers”:
The unadulterated pleasure. Of being blind. Of smelling her. A mixture of stench and
soul. With last words. Written in chalk. Planted between flesh and fingernail. The word
that rouses the widowing meadow, the white assonated pebbles, the high grass of the
Perhaps challenging to readers of English plain language poetry, Dupin’s verses require concentration and at least some cultivation of imagination. In his introduction, John Taylor says the following about reading Dupin for the first time:
Upon a first reading of several of Dupin’s volumes in a row, the references to the
semiotic notion of a “sign” per se as well as the reiteration of specific signs can actually
seem to constitute a sort of hermetic personal symbolism. Yet “symbolism” is not really
the right term, even as the apparent autobiographical allusions (such as béquille,
“crutch”) at once move the reader and perhaps deceive him. Hardly fixed or static,
these signs—represented by key words often suggesting pre-conceptual sensate or
cognitive experience—are strangely prismatic, often partly indeterminate.
With Dupin, the challenge is supremely rewarding, even if at times a little shocking. From the book length title poem, Dupin offers the following:
The panting blue pinks
make the stained-glass light
of your “soul” eaten by flies
of the dead gods’
Meaninglessness as a watermark
in the thickness of the tongue—
excess meaninglessness vaporizes meaninglessness
it loathes this theater
it flows, a self-murderer, the liquid manure
of any naked writing
aspiring to mortality
by absorbing the magnifying glass
the crystalline lens…
a combustion of flies
a cloudery of monkeys
deep within the party-
Dupin died last year at 85 at his home in Paris. One of the great poets of his generation, he will be sorely missed. Dupin’s New York Times obituary reads,
“Mr. Dupin was for a long time one of the directors of the renowned Galerie Maeght
in Paris, which represented Joan Miró, Marc Chagall, Alberto Giacometti, Francis
Bacon, Wassily Kandinsky and other modern artists. His poetry, which has been
described as intentionally ambiguous, emerged in a stark postwar period of re-
evaluation at all levels of French society, art included. “It’s succinct, laconic,
impersonal,” said Mary Ann Caws, a professor of French literature at the City
University of New York. In some ways, she added, Mr. Dupin’s poetry was the opposite
of Mr. Dupin himself. “I knew him as a friend,” she said, “and he was an awfully decent
and warm man.
Of Flies and Monkeys comes highly recommended. Do yourself a favor, pick up a copy and delight in the superb imagination of one of the 20th and 21st centuries most gifted poets.
BIO: Alan Britt is the Book Review Editor for Ragazine. He has published poems and flash fiction nationally and internationally, along with 17 books of poetry. His review for the Library of Congress can be accessed at http://www.loc.gov/poetry/media/avfiles/poet-poem-alan-britt.mp3
Guidelines for poetry submissions:Poetry Editor is Emily Vogel
- Except in special cases (determined by the editor) Ragazine does not accept poems previously published online or in print.
- Send poetry submissions to: email@example.com. Subject line to read: Poetry Submission. Poems should appear in the body of the e-mail, not as attachments.
- Include a brief biography, no more than three to four sentences.
- If the poem is over three pages in length, it may be sent in an attachment, but ask the editor first so she/he knows to expect it and can acknowledge your inquiry.
No more than three poems per submission.
No more than 4 submissions per year.
Poetry Book/Chapbook Reviews of 1 to 2 pages are welcomed. These can be sent in an attachment.
Ragazine is especially interested in translations. In such cases, the poem in its original language also should be included.
No websites. Ragazine will not accept poems from websites, blogs, facebook, etc.
Poetry Editor’s note:Poems accepted for Ragazine will appear over the next two to three issues, as the editor has received much good work that she wants to publish, but has room only for five or six poets max per issue. If you receive an acceptance, know the poem may appear in an issue three months to four months after the editor has accepted your work. It is not always for the very next issue. Do not think she has forgotten her promise to publish the poem. We update every six to eight weeks. If, after you’ve grown old and tired, you feel we are remiss in getting back to you, give a nudge.
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