Pitches and Submissions

Before pitching, please read pieces we’ve already published. For topics of interest and a detailed description of what we look for, see our call for pitches below.

We publish reviews, essays, interviews, and excerpts. While we are especially committed to publishing writing on, about, and from Cleveland and Ohio, as well as the Rust Belt and greater Midwest, regional connection is by no means a requirement.

Our conception of what criticism is and can be is purposefully expansive, generous, and open. We publish writers at all stages of their careers, regardless of publication history.

Email pitches@clereviewofbooks.com to pitch or submit a piece. Everything we receive will be considered for publication in both our online and print magazines. If pitching, please provide a specific angle or provisional idea(s) of how you might go about the review/essay/etc. If you have not written for us before, please send one or two samples of previous cultural criticism or reviews you have written, if you have them. Our current rates are $100 for online publication and $200 for print. We aim to respond to all pitches and submissions within six weeks.

We are not currently open for unsolicited submissions of fiction and poetry.

Call for Pitches

The Cleveland Review of Books invites pitches and submissions of critical writing that prioritizes formal vision and generous engagement with its subject matter. We look for writing with a committed sense of style and perspective. We call for analysis that takes calculated risks and rewards attention. We seek authors who challenge our readers to relate themselves more completely to their worlds. Beyond genre, we value critical writing in any shape that fits one or more of the categories below. We also encourage pitches that purposefully push at their boundaries. 

The writing we publish frequently takes the form of a review. It is our conviction that the very best “reviews” are critical-creative essays initiated by one or more texts operating in a recognizable critical mode. They may also be collaborations, letters, conversations, disruptions, or other inventions. Furthermore, a “text” can be many things. Our aspiration is to publish writing that examines ideas, techniques, and contexts that extend beyond any singular work or moment, offering the aforementioned qualities of style and analysis regardless of the timeliness of its concerns or the recognizability of its form. To acquaint yourself with the quality and styles we’re interested in, we recommend reading what’s on our site before pitching.  

To submit, please see our guidelines above. We welcome pitches on:

Literature

Fiction. Poetry. Nonfiction. “Creative” nonfiction. Hybrid, multi-genre, interdisciplinary, genreless writing and reading. Collections. Selections. Works in translation. Graphic texts. Art books. Photo books. Zines. Scenes. Small and independent presses. Community projects. New releases. Forgotten voices. Reissued classics. Medium-term bangers. Real stinkers. Physical, digital, ephemeral.

Poetics

Contemporary and ancient. Verse and prose. Aesthetic and ontological theories of reading and writing. (Mis)understanding. (Il)legibility. Saying. Looking. Hearing. Meaning. Making. Failing to.

Collaborative Criticism

Essays, reviews, interviews qua exchanges, arguments, rejoinders. Forms authored by two or more writers which forefront collaborative methods as essential techniques for thinking with, at, and through text/s with more than one mind, voice, body.

(Midwest) History

Places. Rural. Urban. Liminal. Towns. Cities. Lakes. Factories. Strip malls. Plains and prairies. The Rust Belt. Industrial decline, postindustrial perseverance. The Suburbs: how they were made, and for whom. People. Your people. Race, its histories. Human detail. Victories. Sorrows. Failures and why they matter. Ideas from and images of the Midwest. Main Street. Small town. Everytown. Common man. Average American. Communities. White. Black. Native. Immigrant. Violence. How to reckon with it. The past. How to remember it. The future. How to make it.

Publishing

As a practice. The state of literary-cultural production. Issues related to past and present publishing trends and methods. What editing is and isn’t. The poetics of the press. Sending pitches. Receiving rejections. Publishing as labor. IP. Small press. Journals. Awards. Submittable. The MFA. The CIA. Views from inside and out.

Comparatives

This. As opposed to that.

Culture and Politics

Ecocriticism. Rust Belt Blues™. Radical ruminations, appropriately formatted. 21st century party machines. The rural left. The urban right. Labor. Its resurgence. Its future. Amazonification. Agglomeration. Accelerationism. Deceleration. Slow Cities. Farm-to-table. Quiet lives, and how (not) to live them.

Psyche of Literature

Death to the author; long live the character. Death to the character; long live autofiction. Insights, analysis, and unbridled curiosity about the interplay between psychology and storytelling. Unreliable narrators. Unreliable authors. Unreliable critics, whose burden it is to objectify her intuitions with all the intellectual rigor at her command. Nuances of motivation. Objectivity as no more than relative.

Literary Chronology

The enigma of time, and its hold on letters; cyclical patterns, and how they shape our literary landscapes. The détournement of literature and literary minds.

Visual Art

Modernism. Postmodernism. The built environment. Gallery openings. Painting. Design. Film. Documentary. Typography. Cartography. Photography. Placemaking. That mural you love.

The Book

As art object. As discursive subject. As monetized product. As product of production. As independent collaboration. Forms of the book and forms of reading. Book-making, -un-, -remaking. What reading is. What paper is. What screens are. Inks. How the damp finger flips, how the clammy hand holds. Book UI/UX. Promises of and challenges to the book and book culture: social, economic, technological, historic. Book design (inside and out) as text. Close consideration of aesthetic and material choices (or non-choices) of the made book as critical frame and entry to title, text, texture. 

Lists

No listicle. No best. No round-up. The list as technique, gesture, interruption—yes.