Literary Magazine Submissions – Resource Guide for Poetry and Fiction

Another year. Another round of submitting poetry and fiction. Here’s a list of resources I’ve used at different points to make decisions about where to send work.

One thing I’ll suggest is to read as many magazines as possible and connect with writers you like. My best source for new literary magazines is from writers on social media (FB / Twitter). Also, here’s my list of literary magazines active  on twitter.

Please comment with any lists you find valuable.

Happy submission season!

 Martin Ott

Online Resources General

Online Resources – Top Tier Publications

Print Resources

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Writeliving Interview – C. Dale Young

C. Dale Young Photo

As someone who has juggled a career along with writing in multiple genres, C. Dale Young has been a source of inspiration for me, not just for his writing (which is superb) but also for his commitment to his craft. Hope you enjoy the interview.

– Martin Ott

Who has been a major influence on your writing?

Although this is a common question, it is also an incredibly difficult one to answer. I suspect my response, if asked about literary influences, would change daily, if not hourly. I will answer this from a slightly different perspective, answer it without the “influence” part.

After my first year of graduate school, I felt as if I were not cut out to be a writer. I felt discouraged and decided to quit. A teacher of mine, the poet Donald Justice, told me to just keep going. He told me he felt I understood what made a poem a poem. To say this encouragement was huge at the time would be an understatement. And again, in my last semester of graduate school, when I worried that I would never write poems again once I started medical school, it was Don who told me: “You always find time to do the things you want to do.” That statement is one I have carried with me ever since. It gave me permission to become a doctor and to keep on writing. So, I would say Don has been a pivotal presence for me, one without whom I am not sure I would be writing today.

Can you give us insight into your creative process?

With poems, I tend to come up with the last line first. I sometimes carry it around for months. Eventually I come up with a first line. The mystery of writing the poem for me is connecting the A to the Z. I draft fairly quickly. I might spend two or three hours getting down a draft. In revision, it could take months or years for me to get the poem to the point where I would send it out to a magazine or journal.

With fiction, I never have any idea how it ends. I come up with a sentence. I toy around with it until I am sure it isn’t a line for a poem. And then, I just rush headlong into it. I bang it out. And then, as with poems, it could take months to years for me to get the story ready for publication.

How has your profession as a physician impacted your own writing?

Medicine takes up 50-60 hours or more of my time each week. It means I have to always work to be a writer. I have to make time to read, time to draft, time to revise. I do so early in the morning before work, on weekends or days off. I always feel the urgency of time or, better yet, the lack of time.

What is the best advice you can give to a writer finding her/his voice and subject matter?

Don’t worry. You already have a voice. All you need is to become comfortable with the tools to let that voice be heard. So read, read widely. Don’t be wed to any draft. Remember that revision means re vision, to look again. No one else on this earth has your exact life and experience. So, spend your time worrying about something other than “your voice.” It comes whether you like it or not.

How has your work as a magazine editor and teacher impacted your creative process?

I edited poetry for the New England Review for 19 years. It taught me not to take rejection seriously. It also taught me that publishing is not writing. So what if someone rejects your poem or story. Send it out again. Editors do not owe us anything because we send work unsolicited. Being an editor taught me to have thicker skin, to not be rude as a writer. I might think my poem is the next great ode, but chances are it isn’t. As for my actual creative process, neither editing nor teaching has much impacted it other than limiting my time. Writing is, after all, a solitary act.

As a writer who engages with other writers and readers in a blog and on Facebook, what advice can you give about the role of social media in a writer’s development?

Social media can be great for helping one feel s/he is part of a community. But it can also be a huge distraction. People love controversy within social media. There are the fights and the always present bullying. Will social media help one develop as a writer? I doubt it. Can it help you find like-minded souls? Yes. Can those like-minded souls introduce you to things and books that might change your life? Yes. But do you need social media to develop as a writer? No.

What are you currently working on?

I finished a linked collection of stories last year. I wanted to write one more story about the main character’s mother. But I quickly realized it was something larger than a short story. So, I am writing a novel. It is in a sense a prequel to the linked collection of stories. It deals with the three generations of this family that precede the main character in the linked story collection. At this point, I have written about 60,000 words (roughly 265 pages of manuscript). I feel I am about 70% done. I am just banging it out, typos and all. Once I have the whole draft down, the real work will begin.

Have you read anything recently that really got you excited?

Rick Barot’s Chord, his recently published collection of poems, is truly magnificent. I have already read it twice. I also recently re-read Peter Cameron’s Coral Glynn and marveled at his economy of language and the ways in which he can manipulate image across an entire novel. I have also been re-reading some of Eudora Welty’s stories. My God, she is just so sickeningly good.

Can you share an example of overcoming adversity to keep your writing dream alive?

Writing means everything to me. I could give up many things in my life, but I cannot imagine not writing. With that said, writing is a privilege. One writes when one can. I don’t believe in overcoming adversity as a writer, but I am biased, terribly biased. I watch people work to overcome cancer every day. That is adversity. Writers, myself included, love to wallow in the misery of this slight or that slight. But that isn’t really writing any way. That is the business of writing. When you are deep in the process of drafting, when time stops and you are outside of time absorbed in getting the words down, in getting the words right, that is writing. And that is an incredible thing. The rest of it is all business. I have overcome many adversities in my life, but none related to writing. Maybe I am the lesser for that.

What is something about you that writers and readers may not know?

Just before starting college, I was in a terrible auto accident. I broke my neck. It is surprising enough I am alive. It is surprising enough I can walk. I was originally told I might not walk again. But I did. I may appear crazed in my constant desire to work, but it betrays something very different than ambition. I think many think I am just overly ambitious. I’m not. I work hard and work so much because I know I am on borrowed time. I became a doctor and practice medicine because I owed it to those people who saved me to do the same for others. I feel grateful every day to be alive, to walk. I live with an immense amount of pain, but I am alive. I will work hard and write until the day they roll me into the grave, because I know this is borrowed time. I escaped the grave once before. I may not escape it the next time.

About the Author:

C. Dale Young is the author of four collections of poetry including The Halo, forthcoming from Four Way Books in early 2016, and a collection of stories The Affliction, due out from Four Way Books in early 2018. A recipient of fellowships from the National Endowment for the Arts, the John Simon Guggenheim Memorial Foundation, and the Rockefeller Foundation, he practices medicine full-time and teaches in the Warren Wilson MFA Program for Writers.

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12 Suggestions for Post-Ought Literary Magazines

Simeon Berry
Guest Blog Post by Simeon Berry

I don’t have all the answers about the growing divide between print and online magazines, but I do have a few suggestions:

  1. Advocacy of contributors is important. Those of us who were publishing in the 90s didn’t really expect it, but now we’re getting used to it. Guernica is a fine example of a journal who gets the content out there on social media.
  2. If your magazine has a social presence (which isn’t really optional any more), it should have personality. Your social feed should not be a welter of press releases. Those feeds get hidden faster than the people on Facebook and Twitter who only self-promote or thank others for following/publishing them.
  3. For the love of God, please stop driving authors to post terrible photos of their pages online. It just makes the print-only magazines look (rightly or wrongly) like dinosaurs. Rattle (who releases their entire print issue online in stages) and Song Cave (who makes their chapbooks free to download after the edition sells out) are pointing the way.
  4. Make each piece directly linkable by authors. Scrolling through an entire issue of minuscule text is going to lose you readers.
  5. Leverage the power of print to handle exotic text formatting and/or the ability of the net to provide additional content and functionality.
  6. Magazines only have as much prestige as authors think they do. It seems like the majority of well-established authors haven’t migrated to online magazines because they don’t feel like they need to. This is a boon to print-only journals, but it has an expiration date. Up-and-coming writers are beginning to look to journals for what they can offer in a very practical way, rather than who they publish, because online journals are mostly serving their needs better and allowing them to stock their online library of content. The work that less-established writers have online is ending up being the determining factor for whether or not they get readings, solicitations, etc.
  7. Make sure your magazine looks as good as it can on a smartphone and that the work is searchable by Google. See above comment regarding practical considerations.
  8. Make print journals more than just a way-station for poems on their way to becoming a book. I don’t know exactly how to accomplish this, but I’m sure that lots of editors are thinking furiously about it.
  9. Similarly, make online journals more than just annexes to a writer’s Facebook or Twitter feed. I’m also unsure about how to do this, but it needs to happen. (Hat-tip to Rob Arnold for this observation.)
  10. If your magazine has institutional support, either in the form of funds or teaching relief, start thinking about how you’re going to replace that support if it’s withdrawn. This happened to big name magazines, and no one is safe, especially in the age of the corporate university. If you think your prestige is going to save you, think again. Online publishing isn’t free, but it’s much cheaper than print, and college administrators are going to be asking editors why they can’t switch to that model as budgets shrink and online magazines get more prestigious.
  11. We may not like them, but submission fees are here to stay. More and more magazines are using them every year. It’s an easy and labor-free way of generating revenue for magazines, and it stems the massive tide of submissions that come over the transom without fees. In the past, I always felt guilty about sending to a magazine that I didn’t subscribe to and now I don’t, thanks to submission fees. Plus, online magazines don’t really have an effective subscription model in the same way, and I think the past decade has shown paywalls to be very limited in their effectiveness. If you don’t think a magazine has value, then don’t submit. Right now, because the field is so choked with online magazines and the technology/strategies of those magazines haven’t really started to sort out the wheat from the chaff, it’s not as big an issue, but it will be.
  12. All this stuff is happening very fast, so be prepared to forget what you thought you knew. On that note, feel free to quarrel with me! I’m looking for solutions.

About the Author:

Simeon Berry lives in Somerville, Massachusetts. He has been an Associate Editor for Ploughshares and received a Massachusetts Cultural Council Individual Artist Grant. His first book, Ampersand Revisited (Fence Books), won the 2013 National Poetry Series, and his second book, Monograph (University of Georgia Press), won the 2014 National Poetry Series.

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Writeliving Interview – Richard Garcia

Richard Garcia Author

Richard Garcia, aside from being one of America’s premier poets, is a teacher who has had more impact on my writing than anyone else. His voice is still in my ear  as I work, telling me to take risks, to find the poem outside of the poem you thought you were writing. His students — past and present — love him and his impact goes way beyond his righteous books of poetry.

Martin Ott

Who has been a major influence on your writing?

Many writings I would have read in my late teens and early twenties, the coming of age time. Mostly in a more imaginative mode, Spanish, French, and South American. Surrealism and fabulism. But what made me want to begin in earnest was reading Whispering to Fool the Wind by Alberto Rios. It was very much like I had wanted to write when I had written some years before, and although I was not writing when I read his book, it did make me feel like I could get on the right track. I liked his American, Mexican, playful, dark and serious humor.

Can you give us insight into your creative process?

I was at a reading listening to a poet answer that question and it seemed to me that everything she was describing was part of a ritual. Get up at this time, coffee, go to the place, sharpen the pencil, not just any pencil but the #2 such-and-such, now get the pad that you like to write in… So if you do this every day in just this manner every day, she will come, the muse will come to you.

So many of your former students have had successes of their own. How has being a teacher affected your own writing?

By learning to teach I have learned to teach myself.

What is the best advice you can give to a writer finding her/his voice and subject matter?

Try to ignore your subject matter, your obsessions. Suppress the agenda. Go into the place. Your subject matter will be waiting there for you anyway. It may be in an unfamiliar guise or in disguise, and you won’t recognize it. But don’t worry, it will find you. As for voice remember that you are more than one person. You have voices you don’t know about, and they don’t even know each other.

I loved your prose poem book The Chair. Do you have a different process for writing prose poems?

Sometimes I can’t get the lines right, and then I notice that the narrative has a fable-like quality. Then I know it is a prose poem. The prose poem might be pissed. It coulda been a poem or even a story. But now it knows it won’t get to be in those nice lines and stanzas. And even if it is a story, it will be a story in which nothing happens.

What are you currently working on?

I have been finding poems in my laptop files. It is easier to find poems than to write poems.

Have you read anything recently that really got you excited?

Anything by Terrence Hayes. And I found an article I had lost years ago and searched for online unsuccessfully, until now. It is about a strange garden in Italy. Edmund Wilson, “The Monsters of Bomarzo.”

Can you share an example of overcoming adversity to keep your writing dream alive?

Of course there are the heroes that overcome real trouble. As for myself I think of the adversity of the everyday. Even without outside help I can provide my own adversity. I am my own adversity. Having no adversity can be an adversity.

What is something about you that writers and readers may not know?

I can play the jaw harp. I am really a sensitive guy.

About the Author:

Poet and writer Richard Garcia was born in San Francisco and started writing in his teenage years. He is the author of six books of poetry: The Flying Garcias (University of Pittsburg Press, 1991); Rancho Notorious (BOA Editions, 2001); The Persistence of Objects (BOA Editions, 2006); Chickenhead, a chapbook of prose poems (Foothills Publishing, 2009); The Other Odyssey (Dream Horse Press, 2013); and The Chair (BOA Editions, 2014). He has also written My Aunt Otilia’s Spirits, a bilingual children’s book (Children’s Book Press,1978). He is the recipient of a fellowship from the National Endowment for the Arts, a Pushcart Prize, the Cohen Award from Ploughshares, the Georgetown Review Poetry Prize, and the American Poetry Journal Book Prize. His poems appear in journals such as The Antioch Review, The Colorado Review, and The Georgia Review, and in several anthologies, among them The Best American Poetry 2005, Touching the Fire, Seriously Funny and The Best of the Prose Poem. From 1991-2002, he was a Poet-in-Residence at Children’s Hospital in Los Angeles, where he conducted poetry and art workshops for hospitalized children. Garcia teaches creative writing in the Antioch University Low-Residency MFA program. He lives on James Island, South Carolina, with his wife, Katherine Williams, and their dogs Sully and Max.

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Five New Online Magazines You Should Read

jt

I’m not sure when it happened, but online literary magazines have become a lot like food trucks in Los Angeles. They are popping up everywhere and some of the new ones are deliciously inventive. Below are five new online magazines you should check out.

Martin Ott

Jam Tarts – Hot off its debut issue, Jam Tarts Magazine has delivered one of the best online debuts in recent memory. Very rarely does a new lit mag dial in such a compelling mix of poetry, fiction, non-fiction, and art so quickly. The intent of the magazine is to “question taste” and in doing so delivered some delicious appetizers and entrees from writers such as Mukoma Wa Ngugi, Rachel DeWoskin, Rose Lambert-Sluder, and Richard Hoffman.

The Offing – Promoted as a channel for the Los Angeles Review of Books, The Offing is an online literary magazine publishing creative writing in all genres and art in all media. Its mission is to publish work that challenges, experiments, and provokes, and it actively seeks work from those often marginalized in literary conversation. Representative writers include Juan Felipe Herrera, Maruan Paschen, Matthew Rohrer, and Alissa Quart.

Okey-Panky – Early this year the fine folk from Electric Literature began delivering a weekly online magazine of short, darkly comic, ironic, and experimental fiction, essay, poetry, and graphic narrative. Authors include Heather Altfield, Stephen Dixon, Anne Gisleson, Mark Halliday, and Sharma Shields.

Prelude Magazine – Launching in September of last year, Prelude is a journal of poetry and criticism based in New York and has quickly become one of my favorites. The format is both print and online, with work available on the website. Old guard poets such as John Ashbery mix elbows with the likes of Mira Gonzalez and Michael Robbins, and new work is published monthly.

Then and If – Jessie Carty, the founding editor of Referential Magazine, is back with another interactive online magazine Then and If. The mag is in a laid-back tumblr format and encourages writers and artists to engage with work in the magazine and if they like it then to submit a response in multiple formats (text, photo, video) and in any genre (poetry, fiction, non-fiction, comic, stage/screen). A poem by Amorak Huey kicked off the magazine a couple of weeks ago.

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Writeliving Interview: Aimee Bender

Aimee Bender Photo

I read the short story collection The Girl in the Flammable Skirt after graduate school and I knew immediately that a fresh and important  literary voice had arrived on the scene. I was thrilled to be able to take a UCLA extension writing course with Aimee Bender not long after I read her book and she made an impression on me as a teacher–how to take chances and explore possibilities. Two of the stories in my forthcoming short story collection Interrogations started in Bender’s class. Hope you enjoy insights into her creative life.

Martin Ott

Who has been a major influence on your writing?

How to pick one? Today I will pick William Maxwell, because I’ve taught his beautiful novel So Long, See You Tomorrow many times and every time it reminds me something crucial about plot/absence of plot and how big feelings can revolve around tiny moments.

Can you give us insight into your creative process?

Blocks of time, stopping at a predetermined time even if it’s going well, no windows to look out of, no internet, no coffee shop, perhaps a yogurt.

How has being a teacher affected your own writing?

It supplies structure in my day and the pleasure of talking to smart students about writing which validates my own investment in this strange and wonderful and difficult thing a group of us do! Teaching is social, which provides a useful foil for the solitude of writing. The two acts are so different.

What is the best advice you can give to a writer finding her/his voice and subject matter?

Tangents are useful. Staying on point is not the point, especially in early drafts. Wander, explore, make messes.

How does writing short fiction and novels impact the other genre?

My stories are often longer now that I’ve written novels. Novels have helped train me in scene writing. Stories help with sentences, though sentences are pretty key to novels too. Both are hard and fun in different ways.

What are you currently working on?

Finding a novel.

Have you read anything recently that really got you excited?

So much! The first of the Knausgaard series was fantastic, Dept. of Speculation by Jenny Offill, and Silence Once Began by Jesse Ball both thrilled me, and I just read the David Shields’ conversation book I Think You’re Totally Wrong and found that pretty fun and stimulating to read, too.

Can you share an example of overcoming adversity to keep your writing dream alive?

All the piles of rejections from journals and magazines I gathered over years. It was a trudge and I felt discouraged a lot. An agent said my stories were ‘little’ in a way that felt very defeating.

What is something about you that writers and readers may not know?

I can play the beginning part of “Wish You Were Here” by Pink Floyd on the guitar. The easy part.

About the Author:

Aimee Bender is the author of five books, including The Particular Sadness of Lemon Cake and most recently, The Color Master, a NY Times Notable book of 2013.  Her short fiction has been published in Granta, Harper’s, The Paris Review, and more, as well as heard on “This American Life.”  She lives in Los Angeles.

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Making Time to Write in Our Busy Lives

As a marketing professional and father, scheduling time for writing has always been an area of focus and a challenge.

Every morning, I get up on the early side and begin my day writing over coffee and breakfast to make sure I prioritize it in my day.

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At work, when my schedule permits, I walk to a nearby office park with a view of a sculpture and write while I eat lunch. This happens at least three times a week.

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I am also never without either my laptop or paper and pen (which I even keep in my car). Many times I write during breaks in my schedule, including the twenty minutes it took for my jaw to get  numb during a recent trip to the dentist:

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I have also adopted a daily, weekly, and monthly word count for my novel-in-progress. For the month of February, I’m averaging 250 words a day. I didn’t reach my goal but the accountability helps.

Please feel free to comment and share any tactics that you use to make time in your life for your own writing.

Martin Ott

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Internet Literary News, January 2015

Mark Strand

Here are five literary news stories in January that got me and other people buzzing on social media.

Martin Ott

“Sponsored” by My Husband

Writer Ann Bauer touched a nerve from her article in Salon: “Sponsored” by my husband: Why it’s a problem that writers never talk about where their money comes from.  I read no fewer than a half dozen responses to this. Colette Sartor rounded up a number of different responses to this article along with her own response: Stolen time: writing while financially challenged.

Mark Strand: Living Gorgeously

This link made me teary-eyed. Maybe I’m a softie. Maybe I’m moved by Mark Strand’s recent death and love of his collected poems. Please take a moment and read Charles Simic’s moving article on his friendship with Mark Strand.

Would This Happen to a Male Author?

There was a wave of deserved outrage when celebrated author Colleen McCullough was described as ‘overweight’ and ‘plain’ in an obituary.

Arizona Education Officials Ban Multilingual Poem

In a letter stating that Tucson’s public schools are illegally promoting ethnic solidarity and the overthrow of the U.S. government, Arizona education officials say that it’s illegal to recite this poem in school.

Are You Being Watched While You Read?

In her article They’re Watching What Your Read, Francine Prose expands upon an article in the Guardian on how ebook platform Kobo is reporting statistics to publishers on when customers stop reading their books.

 

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To All Those Writing Late Bloomers Out There

Yes, for those of us who have taken awhile to mature as writers these lists can be annoying: Best Writer’s Under 40, Most Promising Debut Writers, Yale Younger Poetry Prize Winners.

Some of us take longer than others to publish a book. Here is by no means an exhaustive list of what I wrote, sometimes with collaborators, before publishing my first book in 2011:

  • 500+ Poems
  • 30+ Short Stories
  • 6 Novels
  • 12 Screenplays
  • 1 One Act Play

It took me nearly 15 years after graduate school to publish a book. But it took less that 5 years after that to get to 6 books published (or soon-to-be-published).

What has been the difference in my recent publishing success? Simple: I have gotten better as a writer.

I have many writing friends who have the talent and material to get a book published, but have yet to break through. I am convinced that they will, but there is some level of luck involved.

My book “Captive” won the De Novo prize, C&R Press, after being a finalist 20 times in poetry book competitions. I never wavered in my writing, my reading, my submissions, or my belief in myself. This is where understanding yourself and what motivates you as a writer becomes important.

I love the process of writing. It is a part of my life. It is my hobby. My passion. My outlet. My greatest love (outside of my family and friends). While I understand that publishing and readership are arrows on the path to becoming a better writer I have also, at times, been motivated by self-competition, external competition, jealousy, accolades, a need to create art, obsession.

One of my favorite self-mantras is that “Writing is a marathon, not a sprint.” Writers at every age should feel encouraged to continue working in their craft. Success, if at all, may not come or may not come to the level we believe. As long as we believe in our work, we will get better and others will eventually take notice.

Martin Ott

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Writeliving Interview – Edward Hirsch

Edward Hirsch photo

Photo by Michael Lionstar

When I think of poetry, I think of Edward Hirsch. He has had a lasting influence on my writing and reading ever since I had the opportunity after graduate school to spend some with him and other LA writers discussing the works of other poets. I’ve enjoyed his poetry and prose over the years, and I’m thrilled he took the time to share his creative life with us.

– Martin Ott

Who has been a major influence on your writing?

My grandfather, who died when I was eight-years-old, used to copy his poems into the backs of his books. I’m not sure why. After his death, my grandmother gave all his books away, and his poems were lost. When I was in my twenties, increasingly dissatisfied with the coldness of Anglo-American modernism, I turned to some Eastern European poets for guidance. I felt I heard my grandfather’s voice coming back to me in a modified key. I’m thinking of the Hungarian poets Attila József and Miklós Radnóti, the Czech poet Jiří Orten, and the Polish poets Zbigniew Herbert and Tadeusz Różewicz.

Can you give us insight into your creative process?

I try to work every day. I read intensely, respond to the poets who matter most to me, and try to stay inside the feeling of the poem. Every poem is an attempt to work something out—nothing is figured out in advance, either emotionally or formally. I counsel myself to be vigilant and pay attention.

What is the best advice you can give to a writer finding her/his voice and subject matter to write about?

Be brave, go deeper and further. Find models. Try to take your work to its furthest logical conclusion.

After completing Gabriel, such a well-received and personal book of poetry, are you able to share what you’re currently working on?

I’ve been trying to write poems of spiritual inquiry. One is called “God and Me,” another is a variation on a verse from psalm 77 (When I was in distress, I sought the Lord; at night I stretched out untiring hands, and I would not be comforted). That’s the tenor.

What has your passion and advocacy for poetry brought to other aspects of your life?

It has brought me a deep feeling of fulfilling my vocation. It has connected me more deeply to myself while also linking me to other people. I’ve found a community of other people who are also befriended by poetry.

About the Author:

Edward Hirsch has published nine books of poems, including Gabriel: A Poem, a book-length elegy for his son, and five books of prose, among them A Poet’s Glossary, a full compendium of poetry terms.

 

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