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  #1  
Unread 07-16-2022, 08:11 AM
Max Goodman Max Goodman is offline
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Default Orbis seeking submissions

Orbis, a strong U.K. journal that recently published its 200th issue, is seeking submissions.

UK submissions, 4 poems + SAE (C5 if possible):
17 Greenhow Avenue, West Kirby, Wirral CH48 5EL

Overseas: 2 poems (no attachments); carolebaldock@hotmail.com

*

further info I've been asked to pass on:

Orbis always welcomes submissions, and unlike many magazines, we return work rather than rejecting it, more often than not with an invite to send more.

Subs: £19/4 pa (Overseas: £42/€50/$60)

Get a taste for Orbis – and get to know us even better: a whole year's worth as pdfs (OS: £12);UK: + 1 back copy of the actual magazine (£12, inc p+p)

Or if preferred, rather than pdfs: 2 back copies for £8

And welcome to join us online at the Orbis group:
https://www.facebook.com/groups/5363...?ref=br_tf&epa

****

Orbis 200, Summer 2022

'All the best to you, and to Orbis!' (Glyn Maxwell; shortlisted for Best Collection in the Forward Prize)

'Best wishes for the journal - and congratulations on such a successful magazine over the years' (Joy Harjo, United States Poet Laureate)

Without Small Press magazines, the majority of poets who are now household names wouldn’t be where they are today:

Carol Ann Duffy's poems appeared in Acumen and the Rialto early in her career,
and Orbis was one of the first magazines to publish Glyn Maxwell, shortlisted for Best Collection in the Forward Prizes.
Susan Wicks, was shortlisted for the T. S. Eliot Prize:3 collections with Faber,
the rest, Bloodaxe, and most of them PBS recommendations.

Simon Armitage, former contributor (reviews and poems),'still has copies',
giving Orbis a mention in his Forward Prize winning collection, Kid,
Ahren Warner, Editor of Poetry London, had a poem in the magazine - aged just 15,
while Featured Writer (Orbis 171), Bethany W. Pope's collection Silage
(Indigo Dreams) was reviewed in The Guardian.

On the other hand, Orbis191 was the first magazine to publish Anne Symons,
whose poem, Corsetière, came second in the Readers’ Award,

while another debut, When Jesus Spoke to the Elephants by Ed Jones (New Jersey), was chosen as Joint 1st, Orbis 183

****

Single issue: £5.50 (Overseas: £11.50/€14/$16); Subs: £19/4 pa (Overseas: £42/€50/$60)

Associate Editor (Book Reviews): Maria Isakova Bennett
Please note with new collections, press release in first instance - not review copies.

Reviews by Philip Dunkerley; David Harmer; Jenny Hockey; D.A. Prince; Pauline Rowe;
Theresa Sowerby; Andrew Taylor; Lynne Taylor

Front cover artwork: designed by Tony Murphy

And here it is – you got the big issue:
Guest Poets, Featured Poets – and most of the poets chosen by you. Yes, some doom and gloom but plenty of laughs along the way, some of it quite surreal.
Would you like to find out more, eg Something I learned from Great Aunt Ethel? Christina Buckton has the answer,
or why Lord Egremont decides to change course (Joy Wassell Timms), and how come Oz Hardwick is seeing Red – never mind Sam Smith
(facing a losing battle, you ask me): Cat and I, impassive, face to face. What's our Reviews Editor, Maria Isakova Bennett doing at Coburg Wharf looking South and North?
And David Harmer, busy Finding Stuart’s Bar, while Matt Bryden has adopted another identity it seems, when Clark Kent Revisits the Family Farm. Maggie Butt enjoys
the Last Swim of the Season, though not so much fun for Sean Howard, who is missing poems (berkhamsted, herts). Shall we join David Mark Williams for some Adventurous Knitting,
or Michael Henry at The Bookseller’s Lunch? And hands up all those, like Annie Klier Newcomer, who knew Antimony has two meanings, or what exactly is the Suburban Secret? Let's ask Eve Jackson, nicely,
So let's celebrate; every issue is special of course, but this one really is extra special...

Featured Poets
Hilary Mellon: Sleep; On Lensfield Road; The Sentence; The Busker
Michael Swan Ibex; tasting notes; rivers go where rivers go

Guest Poets: Simon Armitage; Gillian Clarke: Glyn Maxwell

Poems from: John Cassidy; The Big Dub: John Lindley, A Hutch Full Of Heaneys:
Nessa O’Mahony, Komorebi; Julie-ann Rowell Hether Blether

Prose from Katriona Campbell, Stelle cadente,Philip Dunkerley, Solution; Verity Oswin, Dark Flight; Denise McSheehy, The Plate Spinner

Translation: Laura Chalar: Fernando Pessoa

****

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  #2  
Unread 07-17-2022, 03:28 PM
Sarah-Jane Crowson's Avatar
Sarah-Jane Crowson Sarah-Jane Crowson is offline
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Just to quickly say 'thank you' for posting this. I had heard of Orbis but it dropped from my radar & they sound really interesting (not necessarily for me to submit things to, but to read).

Sarah-Jane
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  #3  
Unread 07-17-2022, 04:32 PM
Matt Q Matt Q is online now
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Yes, thanks Max.

I shall order some pdfs/back issues once I can work out how. Two for £7 including postage is a good deal, indeed.

Ah, OK, sussed it out. I need to use the contact form to get in touch, then they'll arrange a PayPal transaction. The editor got back to me next day.

Matt

Last edited by Matt Q; 07-18-2022 at 05:07 AM.
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  #4  
Unread 07-18-2022, 08:22 AM
David Callin David Callin is offline
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I am just reading Orbis 200 now. A very strong issue.

I am an occasional apparition there. The editor has quite a good policy of requiring successful submissions to be followed by 12 months silence. I think my current 12 months must be coming to an end.
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  #5  
Unread 07-18-2022, 09:08 AM
Roger Slater Roger Slater is offline
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Interesting.

I wonder why UK poets get to submit four poems (which they must send by snail mail) while overseas poets get to submit only two poems (which they may send by email).
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  #6  
Unread 07-18-2022, 11:19 AM
Julie Steiner Julie Steiner is offline
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I wondered about that, too. At first I thought it might have something to do with the "we return work rather than rejecting it" policy, but I can't see what. Maybe they get inundated with email submissions from Americans because those are so much easier to do, and this is a way to cut down the resulting workload. Dunno.
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  #7  
Unread 07-18-2022, 11:35 AM
Matt Q Matt Q is online now
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That was my take.

Postal submissions mean that submitters must have some minimal investment in submitting to go to the trouble of addressing two envelopes, buying stamps and walking to a post box. I imagine you get a lot more chancers if it all it takes is a couple of clicks of a mouse to submit.

Presumably postage costs and delivery times make that approach unreasonable for those overseas. So only allowing two poems halves the work of reading it all.
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Unread 07-18-2022, 11:52 AM
Roger Slater Roger Slater is offline
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It (arguably) halves the work of reading it all, but it also halves the chances of their being offered a poem that they might want to print. I don't particularly care for the mixed message, i.e., we'd love to see your poems but we also consider your submissions to be a nuisance.
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  #9  
Unread 07-18-2022, 01:41 PM
Matt Q Matt Q is online now
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I reckon there's always an element of nuisance in the reading of submissions, whether that's discernible in the submission call or not.

If you're an editor, you want the good poems, but you have to read a lot of not-so-good ones.

Also, you only have so much time in the day. So, too many submissions is going to be a nuisance of a sort even if they're all good.

All of that seems fair enough to me.

Besides, I don't consider my own poems to be the nuisance ones (how could they possibly be?), so I don't mind. That half of the mixed message is clearly aimed at other people.

Still, maybe they're also trying to select out those who don't particularly care for mixed messages?

Last edited by Matt Q; 07-18-2022 at 01:44 PM.
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  #10  
Unread 07-18-2022, 02:18 PM
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Sarah-Jane Crowson Sarah-Jane Crowson is offline
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It seems odd to me. You'd think they'd offer two email submissions each, or something.

Most of the US journals I know don't seem to differentiate in number of submissions accepted. Although I have had issues being paid (labyrinthine paperwork for a very small amount, usually) and missed out on free subscriptions because of the cost of postage before.

I still want to read Orbis now, though, particularly if David is in it (or will be in it)

Sarah-Jane
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