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The Hopkins Review opens for general submissions during the month of October and contest submissions for the Stephen Dixon Fiction Prize and Anne Frydman Translation Prize in April. Read more about the prizes and their guidelines here.

General Submission Guidelines:

The Hopkins Review is a literary quarterly committed to publishing the best contemporary fiction, poetry, nonfiction, art, and translation. The editors seek to publish emerging writers along with established writers.

Fiction: Submit only one story at a time (generally not exceeding 8,000 words) or up to three pieces of flash fiction. We also welcome fiction in translation; however, it is the translator's responsibility to have secured all necessary permissions.

Nonfiction: Submit one work at a time (generally not exceeding 10,000 words). We publish personal essays, memoir, and reviews of books, performances, and exhibits. We publish essays on culture, literature, drama, film, the visual arts, music, and dance. We also publish and welcome public-facing scholarship.

Poetry: Submit up to five poems (no more than 10 pages total). We also welcome poetry in translation (please include originals as well); however, it is the translator's responsibility to have secured all necessary permissions.

Note that we do accept simultaneous submissions, but we ask that you let us know if your work is accepted elsewhere.

The Hopkins Review is a print publication that is also archived electronically in perpetuity through Project MUSE. The Hopkins Review’s standard rate is $1 per line for poetry and $10 per page for prose; a minimum payment of $40 per poetry acceptance and $100 per prose acceptance went into effect in 2022.

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Guest Edited by Anna Maria Hong and Christine Hume

The Hopkins Review seeks creative and critical-creative essays and other writings for a folio on walking as a creative and conceptual practice and as a place where private reveries and public perception intersect. Writers and artists have long embraced the walk as a way to spur thinking and creativity and as an activity that enables a person to immerse oneself in the anonymous crowd or amid the delights of nature.

Until recently, writings on walking have been written mostly by cisgender men and by straight, white, and non-disabled people, with the walk’s literary tradition shaped by hard social and political realities: the fact that walking alone, enjoying solitary contemplation in rural areas or in cities, entails physical and psychic risk and greater danger for women, non-binary, LGBTQ+, disabled, and BIPOC persons.

We’re interested in reinvigorating the walk as a forum for mental meandering and as a form for talking about how we move through particular locales as women, writers of color, queer writers, and authors with disabilities, contending with the possibility of harm and harassment, while claiming walking’s physical and intellectual pleasures and reclaiming public space. How do we as individuals with different subject positions navigate our paths amid the extremities of the 21st century? How do pioneering texts and artworks on the walk shape our current perambulatory investigations? We especially welcome essays that investigate any of the following nomadic dynamics:

• walking the border, the neighborhood, the rail trail, the river, the glacier, the suburb, the shoreline, the mountain, the grid, the rainforest, the spit, the campus, the urban park

• walking in the context of current and historical violence

• climate upheaval/eco-anxiety/solastalgia

• conceptual walks: sculpture walk, slow walk, color walk, walking under the influence, the walking tour, soundwalks

• flâneuse/flâneur/anti-flâneur

• walking as protest, reclamation, activism, or pilgrimage

• walking at night and curfews

Contributors to the folio include Claudia Rankine, Joan Kane, Petra Kuppers, Mary-Kim Arnold, Nabil Kashyap, Rachel Levitsky, and Sesshu Foster. While we mostly seek essays for this folio, we also welcome poetry, fiction, and hybrid-genre writing that directly engages the topic. Please send essays and other prose or hybrid writings of 1,500–5,000 words or up to 3 poems and submit in only one genre. All submissions will be considered for print or online publication.

The Hopkins Review