“One of the best small magazines in the country.”
Tom Paulin

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Rules of Submission

We encourage the submission of original poetry in English on any theme.

•  No more than four original poems and / or translations.
•  There is no restriction on length.
•  We prefer submissions by email as a Word Document or in the body of the email.
•  Alternatively, our postal address is:

Oxford Poetry
Magdalen College
Oxford, OX1 4AU

•  Typescripts cannot be returned.

We will respond to submissions as soon as possible after the deadline,
1 June 2016.

Poetry Press from The Page

" But [Robert] Bridges’s effort had one welcome result. It influenced his daughter, Elizabeth Daryush, who understood from her father that the normal speech stresses of English syllables could offer an exciting sound, and one differing from traditional metric verse. She also realised that a breakdown in regulation could push her poems into a post-First-World-War society. Daryush is possibly the first English poet to write in modern syllabics." Claire Crowther • PN Review

"I was initially disappointed with its failure to develop the image’s potential, but it actually demonstrates Kathleen Jamie’s ability to use reticence, making a point with apt imagery and a minimum of words." Mike Barlow • The Compass

"It is in the nature of the provincial poet to see the whole world in the details of the place he or she celebrates. This place is the world, that is the assumption from which the poet proceeds. In the case of Fitzroy, where the population has been drawn from everywhere, the presence of the larger world in the smaller needs no special demonstration. The four hundred biographies, which constitute the biography of the place itself, cover a vast range of lives, occupations, histories, identities, classes and cultures." Ivor Indyk • Sydney Review of Books

"Like ourselves, a page is opened to stand before us, words are read and lifted from a page, and then felled and put away, closed back into horizontal or vertical form. And the melancholy inherent to an imperfect memory of content when poem or book is closed, is made up for by the aesthetic object, like a stone stacked within memory, as an oblique, lost form requisite for re-entering, rebuilding, and rereading." Claire Potter • Poetry


Oxford Poetry is published twice a year, and currently edited by Mika Ross-Southall, Lavinia Singer and Andrew Wynn-Owen.

© Oxford Poetry 2013