Critical essays (see guidelines below) should be sent by email attachment to

We accept and review creative work from August 1 to November 1 and from January 1 to April 1. If you are interested in submitting creative work to the minnesota review, please review the guidelines provided below and then click Submit.


Submission Guidelines

Updated: 04/17/2013

We have our submission guidelines and style guide for writers wanting to submit to our magazine both online and in PDF forms. Please click the links below to download the PDF version, or scroll down to view them online.

Submission Guidelines (PDF)

Complete Style Guide (PDF)

Creative Writing

Creative writing submissions are reviewed by creative writing MFA students at Virginia Tech, under the guidance of Virginia Tech faculty Ed Falco, Evan Lavender-Smith, Jeff Mann, Erika Meitner, and Matthew Vollmer.

General Guidelines:

  • We only consider unpublished work. Please do not submit previously published material, including work published in anthologies, chapbooks, or online.
  • We read creative work August 1 – November 1 and January 1 – April 1 of each year. Submissions may be uploaded at any time.
  • Simultaneous submissions are permitted. Please notify us immediately if a work is accepted by another publication. If your submission contains multiple pieces and one or more, but not all, have been accepted elsewhere, but you would still like your remaining pieces to be considered, please email us at Indicate which pieces you are withdrawing through email rather than withdrawing your entire submission on Submittable.
  • Please wait at least three months after your last submission to submit again. If a work is still under review, you may withdraw it and submit new work, up to the limits already mentioned.


  • Poetry: You may submit three to five poems per reading period; please group them into one document and upload them as a single file.
  • Short Fiction: You may submit one longer story (up to 5,000 words), or up to four short shorts or flash pieces (1,000 words or less), per reading period. Please indicate the word count on your piece.
  • Creative Nonfiction: We generally do not accept creative nonfiction, but if your creative prose work does not fall into the scope of fiction, prose poem, or critical essay, we may be willing to consider it. Follow the requirements listed above in short fiction and submit under the fiction category in Submittable. You must clearly indicate to the editors in your cover letter that your submission falls under creative nonfiction.
  • Critical Essays, Review Essays, and Scholarly Articles: Please contact editor Janell Watson at
  • We do not publish reviews of creative work.

Submission Format:

We accept creative writing submissions via our online submission site. We cannot accept submissions sent via e-mail.

If you have difficulties with registration or submitting work, contact editorial assistant Katie Garahan at

  • All files must be saved in Microsoft Word (.doc), Rich Text Format (.rtf), Plain Text (.txt) formats, or .pdf. We cannot open documents with a .pages extension. If you have questions on how to save your document, please consult the Help section of your word processing software.
  • Please set up your submission in letter-sized format, with ample margins, double-spaced, using a standard typeface (e.g., Times, Helvetica, Arial) and font size (12 point is best).
  • Please use minimal document and font styling in your submission.


  • Responses will be provided by e-mail through Submittable.
  • If your work is accepted, you will first receive an email from the editors through Submittable, and, upon your agreement, you will receive a follow-up email from the minnesota review with a publishing contract. Payment for the publication of your work will be in the form of two free copies of the journal in which your work appears, sent to you upon publication.


Critical Essays & Scholarly Articles

the minnesota review tracks the challenging landscape of the critical humanities, including, but not limited to, literary, cultural, and media studies. We tend to prefer shorter, sharper articles which address a broad academic readership. We publish:

• Interviews with leading academics and intellectuals.

  • Past interviews include: Roberto Esposito, Jean-Luc Nancy, Ken Loach, Kaja Silverman, Talal Assad, Joan W. Scott, Fredric Jameson, Timothy Brennan, Barbara Hernnstein Smith, WJT Mitchell, Jacqueline Rose, Jodi Dean, Bonnie Honig, Jacqueline Stevens, Jane Bennett.

• Review essays, typically covering more than one critical work.
• Revaluations that track an overarching theme, idea, or trend of broad general interest to the critical humanities.
• Special focus sections on a specific field, question, or development in the critical humanities.

  • Recent past special focus sections include: animal studies (73-74), Franco-Italian political theory (75), international cultural studies (76), religion and the humanities today (77), and global English (78), China today (79, fall 2012), the medieval roots of theory (80, spring 2013), and feminist political theory (81).

We encourage e-mail inquiries prior to submission. Send critical writing as an e-mail attachment (in Word or PDF) to


Style Guide

(last updated 3/11/2011)

This journal first adheres to the rules in this style guide. For issues not covered in this style guide, refer to The Chicago Manual of Style, 16th ed. (CMS16).


Corporate, municipal, national, and supranational abbreviations and acronyms appear in full caps. Most initialisms (abbreviations pronounced as strings of letters) are preceded by the.

further expansion of NATO’s membership
dissent within the AFL-CIO
sexism is rampant at IBM
certain US constituencies

Latin abbreviations, such as e.g. and i.e., are usually restricted to parenthetical text and notes and are set in roman type, not italics. The word sic, however, is italicized.

Personal initials have periods and are spaced.

W. E. B. DuBois; C. D. Wright


Acknowledgments are made in the first, unnumbered note and written in the first person.

This essay was first presented as a paper at the Center for Comparative Literature at Amherst College. I am grateful for the comments made at the gathering.


After a Colon
If the material introduced by a colon consists of more than one sentence, or if it is a quotation or a speech in dialogue, it should begin with a capital letter. Otherwise, it begins with a lowercase letter. See CMS16, 6.61.

Silently correct initial capitalization in quotations depending on the relationship of the quotation to the rest of the sentence (see CMS16, 13.14). For instance:
Smith stated that “we must carefully consider all aspects of the problem.”
but Smith stated, “We must carefully consider all aspects of the problem.”

A lowercase letter following a period plus three dots should be capitalized if it begins a grammatically complete sentence (CMS16, 13.51).

The spirit of our American radicalism is destructive. . . . The conservative movement . . . is timid, and merely defensive of property.

A down (lowercase) style is generally preferred for terms. See CMS16, chap. 8, for detailed guidelines on capitalization of terms.

Titles of Works
For titles in English, capitalize the first and last words and all nouns, pronouns,
adjectives, verbs, adverbs, and subordinating conjunctions (if, because, that, etc.).

Lowercase articles (a, an, the), coordinating conjunctions, and prepositions (regardless of length). The to in infinitives and the word as in any function are lowercased.

For hyphenated and open compounds in titles in English, capitalize first elements; subsequent elements are capitalized unless they are articles, prepositions, or coordinating conjunctions. Subsequent elements attached to prefixes are lowercased unless they are proper nouns. The second element of hyphenated spelled-out numbers or simple fractions should be capitalized. If a compound (other than one with a hyphenated prefix) comes at the end of the title, its final element is always capitalized.

Nineteenth-Century Literature
Avoiding a Run-In
Policies on Re-creation
Reading the Twenty-Third Psalm

When titles contain direct quotations, the headline-capitalization style described above and in CMS16 should be imposed.

“We All Live More like Brutes than Humans”: Labor and Capital in the Gold

In capitalizing titles in any non-English language, including French, capitalize the first letter of the title and the subtitle. Also capitalize all proper nouns. See CMS16, 11.24 and 11.42, for the treatment of Dutch and German titles, respectively.


Captions take sentence-style capitalization. Captions that are complete sentences include terminal punctuation; captions that consist solely of a single phrase do not. If a caption consists of two or more phrases or sentences, terminal punctuation should follow each phrase or sentence. If credit or source information is provided, it should be the last element of the caption, without terminal punctuation.

Figure 1. The author with unidentified friend, 1977
Figure 2. The author posed for this picture with an unidentified friend in 1977.
Figure 3. Noam Chomsky at a political rally, 1971. Courtesy John Allan
Cameron Archives, University of Florida, Gainesville
Figure 4. Coal miners in Matewan, West Virginia, April 1920. The miners’ strike
was depicted in John Sayles’s film Matewan. Photograph courtesy Matewan Historical Society


Each contributor’s note includes the author’s name, rank, affiliation, areas of activity or research, and most recent works. Dates of publication, but not publishers’ names, are given for books. Books that are not yet under formal contract with a publisher are written in roman, with quotation marks rather than in italics.

Lowercase an academic title unless it is a named position (CMS16 8.27), and follow CMS16 8.67 for whether or not to capitalize a department name (e.g., Department of Music, but music department).

Rebecca Newman is professor of history at the University of Chicago. She is the author of In the Country of the Last Emperor (1991).

Yingjin Zhang teaches Chinese literature at Indiana University. His book Configurations of the City in Modern Chinese Literature is forthcoming.


May 1968
May 1, 1968
May 1–3, 1968
on February 8, 1996, at 8:15 a.m. and again at 6:15 p.m.
September–October 1992
from 1967 to 1970
1960s counterculture; sixties [not 60s or ’60s] counterculture
the 1980s, 1990s, 2000s, 2010s
mid-1970s American culture
the mid-nineteenth century [note hyphen, not en dash]
the late twentieth century; late twentieth-century Kenya
the years 1896–1900, 1900–1905, 1906–9, 1910–18, 2000–2004, 2001–9, 2010–12
AD 873; the year 640 BC; Herod Antipas (21 BCE–39 CE) [use full caps without periods for era designations]
c. 1820

See CMS16 9.63 for more detailed information about inclusive years.


General Principles
Follow the author-date system, as outlined in CMS16, ch. 15. Works are cited in the text by the author’s last name and the publication date. Page citations are separated from the publication date by a comma. Full bibliographic information is provided in a list of references at the end of the text.

Sample Text Citations
References to works listed in the Works Cited list are made inline (i.e., in body text and not in a footnote). There are several different forms of inline citation (the least obtrusive one should always be chosen): Author (Date); Author Date; (Date); or (Author Date). Do not use the abbreviations “p.” or “pp.” When a parenthetical citation follows a quote, place the reference outside the quotes and  move the quote-ending punctuation to the far side of the citation.

Recently, Huron (1994) has proposed “an index of tonal consonance constructed by amalgamating experimental date from three well-known studies.”
Hasty 1987 provides an insightful discussion of the importance experiential meaning.
The studies Huron cites are Malmberg 1918, Kameoka and Kuriyagawa 1969, and Hutchinson and Knopoff 1979.
In Rameau’s Traité (1722), we can infer from some comments that he was not a proponent of equal temperament.
Foucault makes this very clear (1990, 95).
At the performance of Gluck’s opera, he reports, “no one could stop shaking each time this terrifying nò! was repeated” (Scott 1995, 506).
“Comme ce genre est assez peu connu ” (Rousseau 1755a, 5:688).

At the end of a block quotation, leave the quote-ending punctuation (a period or
ellipsis) at the end of the quote. Append a parenthetical citation with no period.
Questions are then asked in an either-or fashion about whether something is or
is not the prototype or part of the prototype in exactly the same way in which
the question would previously have been asked about the category boundary.

Such thinking precisely violates the Wittgensteinian insight that we can judge how clear a case something is and deal with categories on the basis of clear cases in the total absence of information about boundaries. (Rosch 1978, 36)

A list of several citations requires no “and.” Separate the citations with commas, or with semicolons if any of the references contain a page number (and therefore a comma):

Rameau, on the other hand, follows in the Cartesian tradition, whereby even pain and horror can be sources of pleasure, provided control over the passions is not lost (see Descartes 1996; Kintzler 1983; Zelle 1987, 119, 170).

Sample Works Cited Entries
For titles of works, serial commas are added, ampersands are spelled out, and numbers are spelled out. Abbreviations for states in place of publication, if needed, should follow the two letter postal format (e.g., Cambridge, MA: Harvard University Press).

If a citation is given to an online work, an access date is required only if no
publication date is provided. In online citations, “http://” does not precede URLs.

Ibid. is used sparingly; f. (ff.), op. cit., and loc. cit. are not used, nor are eadem, idem, infra, passim, and supra. Commonly used abbreviations include cf., ed. (eds.), e.g., esp., et al., etc., fig. (figs.), fol. (fols.), i.e., l. (ll.), n. (nn.), p. (pp.), pt. (pts.), ser., trans., vol. (vols.). Latin abbreviations are not italicized.


Aronomitz, Stanley, 1992. The Politics of Identity: Class, Culture, Social Movements. New York: Routledge.

Chapter in a Collection

Ames, Julia. 1990. “Motive and Millennium.” In Nation and Narration, 73–85, ed. Homi K. Bhabha. London: Routledge.

Edited Work

Burke, Kenneth. 2010. Equipment for Living: The Literary Reviews of Kenneth Burke. Edited by Nathaniel A. Rivers and Ryan P. Weber. West Lafayette, IN: Parlor.


Agamben, Giorgio. 2009. The Signature of All Things: On Method.
Translated by Luca D’Isanto with Kevin Attell. Cambridge, MA: MIT

Multivolume Work

Foucault, Michel. 1978. The Use of Pleasure. Translated by Robert Hurley. Vol. 2 of The History of Sexuality. New York: Pantheon.
Wright, Joseph. 1898–1905. The English Dialect Dictionary. 6 vols. Oxford: Oxford University Press.

Multiauthor Work

Chomsky, Noam, and Morris Halle. 1968. The Sound Patterns of English. New York: Harper and Row. [For more than three authors, use the name of the first author followed by “et al.”]

Journal Article

Fraser, Nancy, and Linda Gordon. 1994. “A Genealogy of Dependency: Tracing a Keyword of the US Welfare State.” Signs 19: 309–36. [If the pagination is continuous, only the volume number is given.]

Online Journal Article

Abdulhadi, Rabab. 2003. “Where Is Home? Fragmented Lives, Border Crossings, and the Politics of Exile.” Radical History Review, no. 86: 89–101,

Magazine Article

Ishiguro, Kazuo. 2001. “A Village after Dark.” New Yorker, May 21, 2001: 86–91. [Note: The is dropped before periodicals.]

Online Magazine Article

Stephen Budiansky, “Missing Pieces.” Atlantic Monthly, March 2002. www/

Newspaper Article

Taruskin, Richard. 1996. “Dispelling the Contagious Wagnerian Mist.” New York Times, 28 January, Arts and Leisure section. [Note: A page cite is not necessary.]


Chung, Byung-ho. 1992. “Childcare Politics: Life and Power in Japanese Day Care Centers.” Ph.D. diss., University of Rochester.

Paper or Presentation

Gilmore, Donald. 1989. “What Does Hermeneutics Really Mean in Art?” Paper presented at the annual meeting of the College Art Association, Boston, February 13.
Platt, Heather. 1997. “Rhythm and Phrase as Expressive Gestures in Brahms’s Lieder.” Paper presented at “Brahms the Contemporary: Perspectives on Two Centuries,” Harvard University, April 3–5.

Websites (Other than Online Books and Periodicals)

Include as much of the following information as possible: author of the content, title of the page (if there is one), title or owner of the site, URL, and access date (if no publication date is provided). The titles of websites and blogs generally use headline-style capitalization. See CMS16, 8.186 and 14.244, for guidance as to whether such titles should be set in roman type or italicized.

Harry Kloman, “Introduction,” The Gore Vidal Index, (accessed July 27, 2003). [The
official titles of websites are set in roman type, with headline style
capitalization, per CMS16, 8.186.]
Grove Music Online, s.v. “Coloratura” (by Owen Jander and Ellen T.
Harris), (accessed April 7, 2007).
*If there is no author, the owner of the site may stand in the author’s
Barack Obama’s Facebook page,
(accessed July 19, 2008).
Matthew Lasar, “FCC Chair Willing to Consecrate XM-Sirius Union,”
Ars Technica (blog), June 16, 2008,


Three dots indicate an ellipsis within a sentence or fragment; a period plus three dots indicates an ellipsis between grammatically complete sentences, even when the end of the first sentence in the original source has been omitted. In general, ellipses are not used before a quotation (whether it begins with a grammatically complete sentence or not) or after a quotation (if it ends with a grammatically complete sentence), unless the ellipses serve a definite purpose. See CMS16, 13.48–56, for more detailed guidelines on the use of ellipses.


The epigraph source includes the author’s name or the author’s name and the title of the work. No other bibliographical information is required.


Set off quotations that are more than eighty words in length.


Avoid sexist language and terms that are gender specific (chairman, mankind, etc.). Never allow the form s/he. State both pronouns—he or she, him or her, his or her—or recast the sentence in the plural. Avoid alternating the use of masculine and feminine pronouns in an article.



Cardinal and ordinal whole numbers from one to ninety-nine (and such numbers followed by hundred and thousand), any number at the beginning of a sentence, and common fractions are spelled out. Common fractions are hyphenated as well.

Numerals are used to express very large numbers (in the millions or more).

no fewer than six of the eight victims
no more than fifty-two hundred gallons
One hundred eighty-seven people were put to death there during the twenty-third century BC
attendance was about ninety thousand
at least two-thirds of the electorate
there were 2 million ballots cast
the population will top 25 billion

Numbers applicable to the same category, however, are treated alike in the same context.

no fewer than 6 of the 113 victims
Almost twice as many people voted Republican in the 115th precinct as in the 23rd.

Numbers that express decimal quantities, dollar amounts, and percentages are written as figures.

an average of 2.6 years
now estimated at 1.1 billion inhabitants
more than $56, or 8 percent of the petty cash
a decline of $0.30 per share

Inclusive page numbers are given as follows (per CMS16, 9.60): 1–2, 3–11, 74–75, 100–103, 104–9, 112–15, 414–532, 505–16, 600–612, 1499–1501.

Roman numerals are used in the pagination of preliminary matter in books, in family names and the names of monarchs and other leaders in a succession, in the names of world wars, in legal instruments, and in the titles of certain sequels.

On page iii Bentsen sets out his agenda.
Neither John D. Rockefeller IV, Elizabeth II, nor John Paul II was born before World War I.
Yet Title XII was meant to rectify not only inequities but iniquities.
Most critics consider The Godfather, Part II to be a better movie than Jaws 2.
[Follow the usage in the original work, per CMS16, 9.44.]

Arabic numerals are used for the parts of books.

In part 2, chapter 2, of volume 11 of the Collected Works, our assumptions are overturned.


Insert the full names of people at first mention, except for names that would be well known by any educated reader. For example: Einstein, Freud, Shakespeare, but Jacques Derrida, Gayle Rubin, Michel Foucault. If a person is usually referred to only by last name, then the last name is sufficient (e.g., Goethe , Colette, Montaigne).


The possessive of nouns ending with the letter s are formed by adding an apostrophe and an s.

Kansas’s weather
Burns’s poetry
Camus’s novels
Descartes’s philosophy
Euripides’s plays
Demosthenes’s orations
Jesus’s name
Moses’s direction



Follow Merriam-Webster’s Collegiate Dictionary, 11th ed. (W11), and Webster’s Third New International Dictionary for spelling. If more than one spelling is provided in the dictionary, follow the first form given (e.g., judgment, not judgement; focused, not focussed). Common foreign terms are set in roman type. (Common foreign terms are defined as those with main entries in W11.)

Prefixes are hyphenated before numerals and proper nouns. Otherwise, prefixes are generally not hyphenated before words; refer to W11 and CMS16, 7.85 for guidance.

Temporary compound adjectives are hyphenated before the noun to avoid ambiguity but are left open after the noun. Non-English phrases used as modifiers are open in any position, unless hyphenated in the original.
Put neologisms within quotation marks at first use.

A term referred to as the term itself is italicized.

In the twentieth century socialism acquired many meanings.
The word hermeneutics is the most overused term in recent monographs.
The term lyricism was misused in Smith’s book review.


When an original non-English title and its translation appear together in the text, the first version (whether original or translation) takes the form of an original title, and the second version is always enclosed in parentheses and treated like a bona fide title (whether or not the work represents a published translation) with title capitalization appropriate to the language.

I read Mi nombre es Roberto (My Name Is Roberto) in 1989.
I read My Name Is Roberto (Mi nombre es Roberto) in 1989.
Rubén Darío’s poem “Azul” (“Blue”) is one of my favorites.
Rubén Darío’s poem “Blue” (“Azul”) is one of my favorites.


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