The Melic Review seeks poems, essays and fiction of the highest quality.
We accept previously print-published material but not previous net publications as yet. We discourage simultaneous submissions as we take our work as editors seriously. All work should be sent in the body of the e-mail, rich text format allowed. Attachments will be accepted for formatting reasons, but only if accompanied by text in the body of the e-mail.
We are a triquarterly and publish new issues on the first of April, August and December. Submissions are always open, but the cut-off date for inclusion in a new issue is the first of the month preceding the next issue. Thus for the April issue no submissions will be considered after March 1. Our response time is less than or equal to four months, usually sooner. We try to make no final decisions on acceptances until deadline. We do notify authors if they make the “consideration” file prior to final acceptances.
Please do not include bios. They do not interest us unless we choose to publish you. We’ve published college students and Pulitzer Prize winners, but we try to read blindly for fairness. (We do, however, sometimes solicit authors we admire.)
We prefer fiction under a thousand words and poetry under fifty lines but will make exceptions for longer works of exceptional merit. Five thousand words is the absolute limit for fiction, two hundred lines for poetry. Only one fiction piece of this length has previously made it into the magazine and no poem has. Please send no more than five poems (bundled into one submission, please) or one prose piece per submission, and no more than two submissions per four-month cycle. We also welcome critical essays on literature, no length limit.
To get an idea of what we prefer it’s best to read back issues. As regards poetry, which always tops our submission numbers, here are a few quotes from the editor’s essays for guidance:
From “On Modulation”:
I think what I most admire in poets is clarity. Aiken said Eliot could make a phrase that "rings in the mind like a silver coin." Notice, again, one adjective with two nouns and a verb make up this critical felicity.
It would be interesting to have a word processing program that totalled adjectives, adverbs, nouns and verbs in a poem. Without looking I think I could predict if a poem was any good based on the totals. If the adjective count exceeded the noun count, or the adverb count exceeded the verb count, I’d wager it’s a bad poem. We should never forget that modifiers are modifiers; they are not the movers and shakers of verse, not the characters, more the special effects.
From “Logopoetry II”:
Intelligibility, the acknowledged cooperation of the brain's hemispheres, man's need for meaning, and the idea that language is first a vehicle for communication — these constitute the introductory principles of logopoetry.
From “Towards a New Direction in Poetry”:
To elaborate, one might call me an advocate of a more epigrammatic poetry, a poetry of compressed power utilizing all the accumulated weapons of formalism and symbolism, employing Chinese lucidity and Dantean accessibility, a poetry strong enough to muscle aside, perhaps, for a moment, the information overload that constantly attends those who might otherwise be tempted to actually sample contemporary poetry.
We do not pay contributors, nor are we a publishing house for chapbooks or books. We are simply an online literary magazine.
Copyrights revert to the authors upon publication. All work published is with the express consent and permission of the author.
We also offer a intensive one-on-one tutorial in poetry as well as proofreading and editing services. Please see the links on our homepage if interested.
Works published here may not be reproduced, electronically or otherwise, without prior consent of the author or representative.