Artful Dodge has always been attracted to writing with a sense of place and looks for work that combines the aesthetic and the human in fresh, unexpected ways. However, don’t ask us what that statement means–all we can say is that the work we print shows awareness of the cultural landscape out of which it comes, the words and deeds of people and the language of the bus stop and bar as well as everything the poet or prose writer has read in their entire lives. It involves an illumination of the particular and the concrete, and the transforming of this here-at-hand to the level of the permanent, the mythic. This can be accomplished in ways as diverse as William Carlos Williams’ wheelbarrows, Elizabeth Bishop’s maps, Langston Hughes’ rivers, or William S. Burroughs’ disrobed lunches. But some sort of interplay between focus and transcendence must be at work. While we have transitioned to online submissions for the purpose of speeding our evaluation and response process, our staff is still small so please allow up to six months before sending us a query on the status of your submission.

Please read a copy of Artful Dodge to get a feel for what we like to print. We have a small selection of past works on our website and blog. If you would like to read a Dodge in its entirety, however, please send us a check (or even cash) for $12 for our most recent issue or $5 for a back issue.  (We hope to get a credit card payment up and running in the near future.) 

Artful Dodge gladly accepts simultaneous submissions but we do ask that you let us know as soon as possible if your work is submitted elsewhere.

Currently, contributors receive at least two copies of the magazine in which their work appears. Additional copies for contributors are priced at 50% the regular price. 

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We ask that you send us no more than six poems. We are not afraid of poetry that pushes the boundaries—that’s right, we like our cardboard boxes to be bursting at the seams—because, borrowing from Anna Karenina, all nice boxes are the same, while all ripped boxes have ripped differently.

(By the way, long poems are encouraged, though not as long as Anna Karenina.)

Make sure to put your poems in a single document, as the submissions page only has one space for uploading your stuff.

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We are interested in literature in translation from all over the globe. Please include the original text and indicate that you either have copyright clearance or the author's permission when uploading.

There will be separate spaces to upload the original text and your translation; however, if you want to upload them in a single document, that is fine too.

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Prose submissions must be double spaced and no more than 25 pages (approximately 6000 words). 

Artful Dodge is interested in things that have a way of coming back to you, like cicadas, which stick themselves in the ground for seventeen years or some other primary number and wait to pop back into your head just as soon as you’ve forgot about them. We want things that look at the world with the eye of an archeologist: make us see past the veneer into a world where everything matters. And, while you’re at it, show us why it matters, why it enchants us. 
We are not interested in any genre pieces that do not transcend the boundaries of the genre itself.


Speaking of cicadas and such, a sample of things we like can be unearthed on our website under the Past Selections tab, including “Locusts” (Sarah Nawrocki, AD 28/29), “Archaeology” (Mary Tartir, AD 30/31), and “The Last Offering” (Olga Grushin, AD 40/41).

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Prose submissions must be double spaced and no more than 25 pages (approximately 6000 words). 

What we are looking for conveys a sense of place as well as of language, of decoding as well as describing. Part Edward Abbey and part Walter Benjamin. In a world that is constantly being revised and recreated, sometimes we are searching for a photograph capturing crisp detail in the midst of a tornado. Other times we want to know how the world works, and we think you might be able to tell us. We do know that we’re especially interested in nature and environmental writing, but we’re also interested in memoir.   Some people claim poetry is autobiography with line breaks, but we also see poetry in prose trying to communicate like poetry.  We could go on and on, but you might just want to look at Jeff Gundy’s “Nobody City,” a reverie about Prague, Franz Kafka and the ghostliness of place (AD 52/53), or Kathleen Lee’s “Parasites,” wherein she reflects on having parasites while abroad in Kathmandu (AD 20/21) in order to get what we mean.  Nature isn’t always sunshine and rainbows, we get that, but it’s also not always a mud-crawl. This may be real life but Artful Dodge is looking for its match made in heaven.


The works provided above can be found on our website, under the Past Selections tab.

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Normally, Artful Dodge doesn’t accept unsolicited artwork, though there are exceptions. But—as with our written content—your work should not have been published or graced the pixels of the internet yet.


We are also quite interested in works that bridge the gap between word and image. That doesn’t mean illustration or typography (some sort of brand new type font), but rather collaborations of word and image (by different artists or by the same one), where the two elements complement each other and build a relationship that transcends what either piece is when displayed in singularity. If you’re having trouble picturing what we mean by this, check out the series of poems and paintings by Tess Gallagher and Josie Gray which adorn the pages of AD 46/47 and Jody Servon’s collection of artwork found on eBay paired with their original descriptions, which appears in AD 50/51.  Even further back, we might want to look at Rat Rondell in AD 14/15 or Kathe Kowalski in AD 16/17 whose work also somehow combine word and image.

This is where you can order your very own copy of Artful Dodge.