North Dakota Quarterly is a literary and public humanities journal whose roots extend back to the early days of the University of North Dakota. One of the famous “little magazines” that have been the traditional seed beds of talented writers, it puts UND on the map while contributing to the nation’s cultural and artistic life.
An international spectrum of writers and artists joins UND faculty and researchers as contributors to NDQ’s rich mixture of articles, essays, fiction, and poetry.
Celebrating our recent Submittable subscription (which means we can now take submissions on line (and that we once again haz accessible), NDQ is now accepting submissions for the first Dakota Access Poetry Prize (DAPP).
This prize is in line with our forthcoming collection of essays on the humanities in the age of austerity. To be considered, we'd like to see your best critical work on the global moment, understanding this as encompassing everything from oil to borders to water to Syria to cotton socks. Or in reverse order, we welcome approaches to the topic as diverse as those found in Pablo Neruda, C.P. Cavafy, Homer, Gloria Anzaldúa, and Mikeas Sánchez.
Translations welcome, but only of living poets.
Because money makes the world go ‘round, we have $500 in total prize money.
The poems will be vetted by the mysterious poetry division of the North Dakota Quarterly editorial board with finalists being select by Juan Sánchez. Sánchez has published works of poetry, some titles include Rio, Salvia, and the anthology Indigenous Message of Water. In 2016 he received the National Prize for Literature in Colombia, with his work Altamar. He is currently a professor at the University of North Carolina - Asheville.
Selected finalists will go to the NDQ editorial board for a final decision.
Final date for submissions August 15.
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Literary preferences are very subjective. There are no fixed, universal, or objective criteria that we use when we read fiction submissions. In recent issues of NDQ we have published stories in which the setting is clearly identified, characters are properly named and introduced, the action progresses on a linear axis, and things, generally speaking, are far from confusing. We're not against that. But we've also published a partially hallucinatory story about an incompetent broomball player, a theologically equivocal story about a Jesuit novice on an Indian reservation, a story from the perspective of a twice-kidnapped boy, a 4,000-word one-sentence story, a story about an imaginary novel, and a story about sheep in Scotland—from the perspective of a sheep. Ultimately, we're looking for multiple perspectives, different voices, and a variety of approaches to fiction. These approaches can revolve around uncertainty, ambiguity, fragmentation, polyphony, contradictory information, structural experimentation, and all the other things that teachers of freshman composition tell us we must eliminate or avoid. In other words, we value the willingness to treat fiction as textual art and take literary risks. Naturally, there is no guarantee that innovation will yield good results. But when it comes to art, it might be better to fail with something original than to play it safe with a predictable formula.
Send 3-5 pages of your best work. No preference with regard to form, style, as long as the content isn't lame and the language works. Published and unpublished poets are welcome, as are translations from across the globe. We are digitally capable for the performance oriented, so send video if the body is your best medium. Editors enjoy everything from Sappho to Mayakovsky, from Dante to Anzaldúa. No simultaneous submissions.
North Dakota Quarterly, as both a literary and public humanities journal, seeks to publish intriguing, innovative, and distinctive non-fiction essays. These may range from formal scholarly treatments of literature, history, and culture more broadly to reflections, personal essays, and experimental forms designed to explore the limits of generic convention, voice, or ideas. While the audience for this work is the vaguely-defined general public, we encourage submissions that take an ambitious and expansive view of public's interest.