Call for submissions


Axon Capsule 2

The poetic line: recent innovations

From Mallarmé onwards, the parameters of the line have been manipulated in diverse ways by poets from Williams to Olson, Howe, Hejinian and others. Whether concentrating on the concept of the breath as a defining unit, harnessing a particular speech rhythm or responding to visual prompts – some of which reflect the internet age and new media - the poetic line is neither static nor redundant in contemporary practice. An exploration of poetic structure via the line still offers vital alternatives to prose, yet may be deeply influenced by it.

The 2nd Axon Capsule focuses on recent innovations and theories of the poetic line and will be published as soon as ready. The deadline for submissions is 1 October.

  • Creative practice which engages with experiments in lineation
  • Theories of lineation
  • Intersections between the poetic line and visual art
  • The line and typography
  • The line and performance
  • Tensions between the line and the sentence
  • The line and music
  • The line and digital media

The editor of this Axon Capsule is Owen Bullock. 

Go to the Submission Manager, follow the instructions on that site, and upload your work. We will respond as soon as the review process is completed. 


Axon: Creative Explorations Number 13

Contemporary boundary crossings and ways of speaking poetically (due for publication in October 2017)

This issue builds on work emerging from the Poetry on the Move festival hosted by the International Poetry Studies Institute (IPSI) in September 2016.

This Special Issue of Axon aims to explore ways in which contemporary poetry fashions its various forms of utterance, with particular attention to form and how poets abide by, manipulate or ignore its restraints. We would like to hear how poets understand their own creative practice, as well as the poetry of their contemporaries in whichever part of the world they may be situated. We would like to know how poets approach the formal requirements or expectations that writing poetically may (or may not) impose on them. We would like to understand the extent to which poetry represents a crossing of boundaries for poets, what those boundaries are, and what poets are trying to achieve in making these crossings.

  • We are particularly interested in papers that relate to:
  • How poetic form is used by poets and how they understand poetic tradition
  • Inventive, subversive or transgressive poetic forms or strategies
  • Prose poetry and other ‘hybrid’ poetic forms
  • Poetry at the margins, wherever they may be
  • Poetry as ‘alternative’ knowledge

We welcome papers that explore the above with reference to a variety of broader themes, such as:

  • Poetry and the contemporary zeitgeist
  • How poets make poetry out of autobiographical material
  • How contemporary poetic language ‘works’
  • Contemporary poetry’s relationship to the quotidian
  • Contemporary poetry’s relationship to the ‘sublime’
  • Poetry as a way of knowing the ‘other’, however that may be defined
  • Connections between poetry and culture
  • Poetry and its relationship to language more broadly

The editors of this issue of Axon: Creative Explorations journal are Dr Paul Munden, Professor Paul Hetherington and Professor Jen Webb.

Go to the Submission Manager, follow the instructions on that site, and upload your work. We will respond as soon as the review process is completed. 


Axon: Creative Explorations Number 14 

Speaking about creative practice (due for publication in April 2018)

Poets, fiction writers and visual artists are known first through their public work, but behind that lies a life and a practice, a community and a context. This issue of Axon: Creative Explorations focuses entirely on contemporary interviews with these makers, acknowledging that face-to-face interviews generate spontaneity and intimacy while allowing the interviewer to probe for information of all kinds. It is a powerful written form, as evidenced by success of the long-running Paris Review series Writers at Work. This issue of Axon includes

  • Conversations between creative writers and artists in the same or in different forms
  • Interviews exploring the background of creative practitioners
  • Interviews exploring how creative artists think themselves into their work
  • Conversations about how artists and writers understand the work of being an artist and their approaches to the creative process

The deadline for submissions is 31 October 2017, and the proposed publication date is April 2018.

This issue will be edited by Paul Hetherington, Jen Webb and Cassandra Atherton

To submit, please go to the Submission Manager, follow the instructions on that site, and upload your work. We will respond as soon as the review process is completed. Submissions should be received by 31 October 2017

Please note that poetry published in Axon will be solicited by the journal’s editors. Unsolicited contributions of poetry will not be read or acknowledged.

Peer review

Articles, essays, papers and other scholarly contributions are peer reviewed. The reviewing process is double blind, so that neither author(s) nor reviewers should know of the others’ identities at any time.

In producing a research-based paper, authors should be drawing on a sound framework of scholarship relevant to the paper’s topic, rather than purely on personal experience and/or anecdotal evidence, although some personal and/or anecdotal material is a legitimate part of many good papers. Papers for Axon are welcome to take a creative or lateral approach to their topic, or to mix more than one genre of writing, or to incorporate images or other graphic work. Papers are expected to make a contribution that extends the current literature in the field. Final revised articles, papers, essay and interviews (including endnotes) will be a maximum of 6,000 words in length.

The journal does not, as a rule, publish short fiction or excerpts from longer fictional works, but creative work other than poems will be accepted for refereeing if they make a distinctive contribution to knowledge that extends the current scholarly literature in the field and are accompanied by a 250-word exegetical statement for publication. The statement should indicate the research significance of the creative piece and will draw on a sound framework of methodology and scholarship relevant to the work’s topic.

All poetry published in Axon will be solicited by the journal’s editors. Unsolicited contributions of poetry will not be read or acknowledged.

Writing and formatting information for authors

All papers and other contributions to Axon: Creative Explorations will be vetted for final acceptance by the journal’s editors. If you are unfamiliar with the kind and quality of contributions, including the scholarly standards of papers, published in the journal, please read recent issues.

Referencing style
  • Author-date system in-text, with a listing of works cited
  • Endnotes, not footnotes (please use minimally and include in word count)


DeLillo, D 2001 The body artist, London: Picador

Book chapters
Woods, C 2006 ‘Writing, textual culture and the humanities’, in N Krauth and T Brady (eds) Creative writing: theory beyond practice, Teneriffe: Post Pressed, 121-135

Print journal article
Eickelkamp, U 2010 ‘Children and youth in Aboriginal Australia: an overview of the literature’, Anthropological Forum 20: 2, 147-66

Magazine article
DeLillo, D 2001 ‘In the ruins of the future’, Harper’s magazine, December, 33-40

Online sources
Krauth, N 2002 ‘The preface as exegesis’ TEXT 6: 1, at (accessed 12 March 2011)

Kulikowski, M 2007 ‘Mayday 23: world population becomes more urban than rural’, NC State University News Services, 22 May, at (accessed 9 September 2011)

Kroll J 2004 ‘The exegesis and the gentle reader/writer’ TEXT Special Issue Website Series No 3, at (accessed 10 July 2011)

McEwan, I 2001 ‘Only love and then oblivion’, The Guardian special report: terrorism in the US, at, 15 September (accessed 17 September 2011)

Zizek, S 2001 ‘Welcome to the desert of the real!’, 15 September (accessed 19 October 2011)

General formatting instructions

Please submit articles, essays and interviews as Word documents, adhering to the following detail. 

  • Front matter

University name
<One line break>
Author name
<One line break>
<One line break>
Abstract directly below
<One line break>
Biographical note:
Bio note immediately below
<One line break>
Words immediately below – initial caps, spaced en-dashes
<page break>

  • Body text

Endnote references set as superscript
Single quotation marks throughout except for quotations within quotations
Minimal capitalization
Indented quotes (3 lines or more)

  • End matter

Endnotes only

  • Works cited

Styled as detailed above