Thank you for your interest in Poetry Northwest. After more than 60 years, we remain committed to publishing the best in contemporary poetry, especially work willing to take risks and push readers to the emotional and intellectual edge of what poetry makes possible. We are staunch advocates for our writers, and poems published in our magazine often appear later in the pages of the Pushcart Prize and Best American anthologies.

We strive to go beyond encouraging submissions from diverse voices. Our mission to employ equitable editorial practices runs parallel to our mission to publish the most exciting poetry we can find. Take a look at a recent issue and you'll see that we stand behind both these commitments.

Poetry Northwest is published semi-annually in June and December. We also publish new work (poetry, reviews, interviews, and essays) on our website. We make no distinction between the work selected for print edition or website publication. All work submitted to us during our reading period will be considered for the print edition, the website, or both.

We do not accept work that has been previously published. This includes on personal blogs and social media.

Please submit in only one category, and limit yourself to one submission per reading period.

Simultaneous submissions are accepted in all categories with advance indication and prompt notification upon acceptance elsewhere. Please send a message to us through Submittable if any of your work has been accepted elsewhere. Please do not email the editors directly regarding your submission.

We accept submissions online only; work sent via mail will be recycled. 

Poetry

We welcome unsolicited submissions of poetry, original or in translation, twice a year: October 1 – November 30 and February 1 – March 31. Please note that our monthly submission limit for poetry is 300. Once we reach that limit, submissions will be closed for the remainder of that month. If you do not see the option Submit Poems, we have reached that limit.

  • Our cap is usually reached within a couple days. In recognization of the fact that that is an equity and access issue, we gladly accept submissions from poets who are Black, Indigenous, or People of Color after we hit our cap in the months of October, November, February, and March. A submission category for BIPOC poets only will be available throughout those months after our submission cap has been reached. All other submission guidelines apply.
  • Please submit no more than four poems at a time. Combine all poems into a single document and upload as a Word file. If you wish to submit a PDF, please include it as a second file.
  • Out of respect for our volunteer readers, we request that you include a content warning if your work references or depicts personal or historical trauma (including violence, genocide, assault, abuse, etcetera). Please use the format "CW: ______" at the bottom of your cover letter.
  • When submitting translations, please submit the originals alongside the translations, and be sure you hold the rights to print the originals. Please note, translations need not include a version of the poem in English (ie. you might submit a poem originally written in Arabic and subsequently translated into French).
  • If you are an emerging writer, please consider submitting poems to Presenting, an annual feature published in the Winter & Spring issue of the magazine in which Senior Editor Xavier Cavazos introduces readers to a poet whose work has never before been featured in a nationally distributed print journal. All work submitted in this category will be considered for general publication even if not selected for the Presenting feature.

Essays

We also welcome submissions of book reviews or essays all year.

Prizes

The 2022 James Welch Prize for Indigenous Poets accepts submissions from December 1 2021 – January 31 2022. Full prize guidelines are available on our website.

Response time

Our goal is to respond to unsolicited submissions within 6 months, but we may take longer during our busiest months. Please be patient. We want to make sure your work gets the attention it deserves.

Full guidelines are available on our website.

Course Description:

In this six-week generative workshop, we will gather to form deeper connections to our pleasure archives through the embodied act of poetry. As we define and contextualize our experiences of the intimate and the sensorial, this course will invite an unlocking of the erotic through intentional activations of the senses. We will rely on somatic intelligence and body memory, our own rich intuitions, and the heightened evocative possibilities of the lyric to develop a collective aesthetic of desire. We will write poems about lust, romance, longing, and fucking—while exploring intimacy, vulnerability, and dis/comfort as key elements to guide our practice.

Our sessions will prioritize discussions of sample texts, responding to generative writing prompts, and peer critique. We will encounter texts from writers including Essex Hemphill, R. Erica Doyle, Anna Garréta, Minnie Bruce Pratt, Richard Siken, Natalie Diaz, Audre Lorde, Tory Dent, and others. By the end of our sessions, students will have  produced a small suite of poems (4–6 poems). We will work together to establish and maintain a sex-positive, trauma-aware learning environment, with the opportunity to create a collective classroom agreement when we begin.

Scholarships/Financial Aid: We strongly encourage writers from communities historically marginalized and foreclosed out of literary publishing to apply—including writers of color, LGBTQ writers, writers with disabilities, women writers, writers who have not attended creative writing programs, and writers with intersecting identities. As a literary journal and platform, we believe we have the power to counter systemic disinvestment and directly resource the communities we serve. If this describes you, and financial need would prevent you from enrolling at full cost, we are pleased to offer a special Sliding Scale rate, from $150–$275.

Workshop Details

Dates & Time: Saturday, Sept 3 – Saturday, Oct 8, 1pm–3pm PT / 4pm–6pm ET

Class Size: 10 Students

Cost: $300

Scholarships/Financial Aid: Available

Location: Online via Zoom

Deadline: August 28th

Instructor

Chekwube Danladi is the author of Semiotics (University of Georgia Press, 2020), winner of the Cave Canem Poetry Prize. She has received support from Callaloo, Kimbilio Fiction, Hedgebrook, Jack Jones Literary Arts, the Lambda Literary Foundation, Vermont Studio Center, and the Wisconsin Institute for Creative Writing. Her visual work has been commissioned by the Center for Afrofuturist Studies (a program of PS1), Already Felt: Poetry in Revolt and Bounty, Langer/Dickie, and the Black Poetry Review. She is the 2022–25 Writer-in-Residence at Occidental College and lives in Los Angeles. Find more of her work here. (edited)

Land/Form is a new series edited by Publisher and Contributing Editor Kevin Craft that explores topics in geo-poetics. Read first installment of the series here.

Our focus is to publish longer essays of a lyrical, exploratory nature, mapping lived experience, big or small, with the topography of selected poems. Our goal is to offer a different kind of close reading, one that borrows equally from landscape and lineation, showcasing how poetry deepens our engagement with places—those loved, lost, or previously overlooked.

If you have a proposal for the series, please query us here or at landform@poetrynw.org.

Essays only. Poems submitted here will go unread. Please read our submission guidelines for information about our reading period.

We are open to reviewing prose that encourages us to engage with books of poetry (not necessarily new releases), individual poets, and issues of craft or poetics in new ways. We like thinking about how poetry makes the world a bigger place, and we enjoy reading about the connections drawn between the literary arts and food, migration, the ocean—anything unexpected or risky. We also regularly feature reviews, interviews, and essays that engage specifically with poetry. 

We have many regular features that appear in print and online, including On Failure, Line Cook, and a new somewhat tongue-in-cheek "writers advice" column. Feel free to pitch us one of these or something entirely new, as we often run one-off features on such topics as under-sung poetic heroes or AWP panel recaps.

We'll make every effort to respond within a month of submission. Please wait three months before inquiring.

Poetry Northwest