42 Miles Press lives at Indiana University South Bend.

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The Glacier is looking for work for our inaugural issue. We will try to respond to submissions within three months and will read submissions thereafter on a rolling basis. We plan to publish two issues a year. We cannot at this time pay for accepted work. Please wait to hear back from us regarding your current submission before sending more work. If we have accepted your work, unless requested, please wait at least one year from the date your work appears before sending another submission. Include a cover letter with your submission and a short bio written in third person.


GENERAL GUIDELINES

We want to be knocked for a loop by the writing you send. Make it absurd. Surprise us and scare us. Defy our expectations. We want to see work from BIPOC, disabled, and queer writers. We want to see work you’ve returned to, because it keeps you awake at night. We want to see work that risks everything. If other magazines have rejected work you have believed in for years, send it to us.


POETRY

NOTE: POETRY SUBMISSIONS ARE CURRENTLY CLOSED.

The Glacier prefers lyric/associative poetry over straight narrative, but do not have a house style. If it’s good, we will consider it. Send up to seven poems, all within a single file. We accept simultaneous submissions but if your work is accepted elsewhere, please add a note withdrawing poem(s) from your submission. Previously published poems not accepted. Contributors retain rights but are asked to acknowledge The Glacier as first publisher when poems appear elsewhere.


FICTION

Again, here at The Glacier, we prefer more experimental work to straight narrative. We like fiction that gets to the point and that keeps burning in a reader’s mind after the last word is read . . . 1200 words max. Send up to three stories. Single-or double-spaced is fine. We accept simultaneous submissions but if your work is accepted elsewhere, please let us know using the notes feature on Submittable. Previously published work not accepted. Contributors retain rights but are asked to acknowledge The Glacier as first publisher when stories appear elsewhere.


VISUAL ART

The Glacier prefers collage and mixed media artwork, though we are open to painting, drawing, and photography. Don’t particularly appreciate groups of artworks that tend to be doodles of various styles with no cohesion linking them. Send up to 8 images. We accept simultaneous submissions but if your work is accepted elsewhere, please let us know using the notes feature on Submittable. Previously published work not accepted. Contributors retain rights but are asked to acknowledge The Glacier as first publisher when artworks appear elsewhere.

Buy three of our titles for $20. Free shipping. See full list of titles with descriptions here or below.

Please make your three selections from the provided list. Ordered books will ship in 2 to 3 business days. Your understanding is appreciated. 


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You Are Still Alive

William Stobb

William Stobb’s work moves elegantly between restlessness and peace, an appreciation for the bizarreness of life and a desire for simplicity. In balancing these extremes, his poems create a feeling of movement toward reconciliation, if not its realization. To repurpose his own words, he builds a space in which the ’emotional life / inflected by the brightness of wit / puts its arm around the intellect.’ This book is a rare and beautiful accomplishment.”

—Bob Hicok

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Air, Light, Dust, Shadow, Distance

Mary Ann Samyn

Mary Ann Samyn’s AIR, LIGHT, DUST, SHADOW, DISTANCE is a book of lyric meditation unlike any I know of. It’s as if Rilke took a vow to speak in end-stopped lines and let the mystery resonate in the pauses. Clipped, incisive, layered phrases surround heart-mysteries that resist direct articulation. The effect is haunted and haunting, as Dickinson said it should be.

—Gregory Orr

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Ultra-Cabin

Kimberly Lambright

Artful and wry, smart and moving—Kimberly Lambright’s poems are made of such carefully rendered moments that the mundane becomes very wonderfully strange. ULTRA-CABIN is a book that will knock you out and invite you in, sometimes in the same brilliant breath.

—Kathryn Nuernberger

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Mouth

Tracey Knapp

Quotidian, weird, intimate, witty, and skittery, Knapp’s poems are refractions through a funhouse mirror. They’re self-conscious without being self-important. The wounded heart is everywhere apparent; we of that tribe can be grateful for one more of us to voice it, brilliantly. MOUTH is a charmer of a first book. Read it and weep over your nachos and wine; it will leave you wanting more.

—Kim Addonizio

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Precarious

Allan Peterson

Like a modern day Cezanne, Allan Peterson writes poems that slowly clarify via the subconscious, moving by increments into focus in the conscious mind. The attention to detail functions as a mosaic that coalesces into a whole by poem’s end, and we are but a fragment of the world depicted, and yet, like Peterson, we are also actively engaged in this splintering into wholeness.

—David Dodd Lee

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The Bottom

Betsy Andrews

Hers is a water-poet’s inventory, cry and lamentation in one book-length tsunami of plangent musical phrases that might have frothed from the mouth of Whitman. From strength to strength she writes, pulling everything up into her net that need concern us now lest we harm the world beyond salvage. A stunning achievement destined to be among the great poems of our time.

—Carolyn Forché

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The Mimic Sea

Erica Bernheim

THE MIMIC SEA is a whirling dervish of a book, its poems set spinning by the speaker's search for the perfect velocity, for a music rocket—fueled by the graffiti of this world in which only total coverage will suffice, a verbal opiate for the desiring consciousness. And Bernheim achieves this coverage, and more. A passion for knowing is transmuted by the blur of the universe (and all the stuff in it) made manifest in these poems, that "One Thing," the thread of existing, or co-existing, as continuous light, as consciousness ablaze with myriad forms that, by the time we finish this book, feel forged into a singular passion of being.

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Gross Ardor

Bill Rasmovicz

"'Where have all the alchemists gone? We need them,' writes Bill Rasmovicz in 'The Mastery of Moving On.' Yet Bill Rasmovicz is himself an alchemist, turning the leaden stuff of urban life into the gold of consciousness. Ruthlessly quotidian but not taxed by the commonplace, GROSS ARDOR is a book of poems whose dry heat burns from every page."

—Natasha Sajé

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