AADOREE is currently OPEN for submissions for our third issue: The Fey. This is a special themed issue, so please only send us work that is relevant to the theme. We will be reading general submissions again in 2019. We do not charge fees.

If this submissions page is the first place you’re encountering AADOREE, we deeply encourage you to read about us below to get a sense of who we are, as well as read the work in our debut issue on our website before considering sending any work our way—we tend to almost exclusively publish poetry & poetic-minded prose, specifically poems that take formal risks or experiment with text. We receive a lot of traditional love poems (is it our amorous name?) and narrative short stories that are not a good fit for us. Please take a few minutes to read some work on adoreadoreadore.com before submitting.

AADOREE does not distinguish between genre on our submissions page, and thus we read all work through the same general category. While we have general guidelines below, if you do hybrid writing, multimedia work, or other writing that blurs and defies genre, we welcome you to send us whatever you would like us to consider—but please include a cover letter to give us some context.


AADOREE (pronounced the same as “adore”) is a small online/print literary journal. AADOREE aims to publish those voices who are pushing boundaries of writing with an emphasis on interdisciplinary work, formal and visual experimentation, and poetic sensibilities. We adore text and language that takes risks.


Each print issue of AADOREE is bound as a limited chapbookesque volume. The print journal is nearly identical to the online magazine except for one striking difference: each print issue contains a interdisciplinary section of “Adorations” by each contributor in the issue. An Adoration is an additional space, outside of the writer’s contribution, that they may choose to include interdisciplinary media: a response. A zine page. Fragments. A collage. A Polaroid. A doodle. A grocery list. An artist statement. A recipe. Marginalia. An obsession. A postcard. Tchotchke. A kiki. A manifesto. A playlist. A love letter. A polemic. A diary entry, unlocked. All of these could be Adorations.


AADOREE adores writing that is experimental, contemporary, technological, cross-genre, mythic, vivid, self-indulgent, imperfect, teenaged, obsessive, sincere, haunty, speculative, visceral, ancestral, socially conscious, slangy, cute, ugly, overwrought, lyrical, artful, and/or magical. Language, strangeness, and imagination do the most work for us. We want work that interrogates its position on the page. We want writing that goes HAM.

As we are a smaller magazine, we tend to privilege shortform over longform. Likewise, although we don’t distinguish between genres, we tend to be a little more poetically minded or interested in hybrid works. We might not be the most ideal home for traditional stories (although we adore fabulist prose) or poems or essays, although we’re always looking to be surprised.

AADOREE is dedicated to publishing underrepresented voices and giving space to their words. Writers of color, femme + women + GNC + trans writers, queer writers, disabled writers, undocumented writers, indigenous writers, working-class writers, all of those who have been made invisible—please consider sending your work our way.

For our third issue, and our first themed issue, we are seeking writing of The Fey. Because this is a more concept-driven theme, our Submittable will be open for an extended period, rather than our usual 24-hour periods. Submissions will be open from September 22, 2018 (the first day of autumn) until December 21, 2018 (the winter solstice). We expect this issue to come out some time in 2019.

Even though this is a themed issue, our usual genre-specific guidelines still apply. Please consult our general guidelines if you have any questions about length. BUT—please don't send us general submissions at this time. Please only send us your work that you feel is in conversation with some of the loose ideas of The Fey outlined below:

Fey (or fae) meaning fairy (or faerie), is used to describe beings that are either supernatural or “suspended between the mundane and the miraculous”; fairies have many different origins and appearances, but they all seem to be defined by magic, human-like appearances, and their strange relationship to humanity. For our first themed issue, The Fey, we ask how one can write through the fairy as a subversive lens. We have no single definition of The Fey, but we do have perceptions of how this concept can be opened up:

Fey as fairy tales, fairy tales as a narrative form, that, according to Kate Bernheimer, contains four elements: flatness, abstraction, intuitive logic, and normalized magic;

Fey as challenging genre tropes;

Fey as a portal between pop culture & critical theory;

Fey as monstrous;

Fey as fairypunk;

Fey as SZA’s “Supermodel” music video; as Tori Amos #GirlComeUndone lewks; as 90s shopping mall ceramic figurine nostalgia;

Fey as “the other”; the fairy as a thing that is not human; fey as a voice to discuss how humanity is given or stripped away by hegemonic powers; fey as a vessel of politic;

Fey as a means to question what is inhuman or posthuman; as changeling as substitutes as twins as doppelgängers; as imposter syndrome; as inauthenticity; as living shadow; as cyborg or goddess;

Fey as in remixes, critiques, and/or shout-outs to True Blood, Labyrinth, Faerie Tale Theatre, The Wizard of Oz, Sleeping Beauty, Maleficent, Alice’s Adventures in Wonderland, Pan’s Labyrinth, Supernatural, Ever After, Spirited Away, Legend, Rainbow Brite, The Elder Scrolls, fairy-type Pokémon, Francesca Lia Block books, Bottle Fairy, Pretty Cure, Sailor Moon, Fairy Tail, Kirikou and the Sorceress, The Secret of Kelis, The Fairly Oddparents, The Spiderwick Chronicles, Stardust, Winx Club, Artemis Fowl, Grimm’s Fairy Tale Classics…; fairy godmothers & tooth fairies;

Fey as riddles; as in the seelie and unseelie courts; seelie tend to be very benign, offering rewards to mortals who succeed in their challenges; unseelie are more cruel and their tricks often cause harm to mortals;

Fey, not solely as Eurocentric folkloric tradition, but as an aperture for individual traditions from all cultures that deal with the otherworldly folk & spirits who trick or beguile: zâne and elves and goblins and kitsune and brownies and encantado and rusalka and selkies and aziza and coyote and feufollet and peris and tien and mogwai and yaksha and alux and menehune…;

Fey as ensorcelled, charmed, as hypnotic eyes and siren songs, as questions surrounding agency and autonomy;

Fairyland as Another Dimension; spaces, real and imagined, as a type of Land of Faerie: hypertext as Fairyland, social media as Fairyland, the dark web as Fairyland…;

Fey as the aes sídhe, a supernatural race, compared to fairies or elves, who live underground; as hidden people; sídhe as portals; sídhe as subterranean; sídhe as mole people as excommunication as transience; sídhe as locked up; as safe houses; as secret routes; as gossip networks; as tunnels; the preternatural as a means to talk about borders; sídhe mounds as prisons; sídhe mounds as detention camps as “tender age” shelters;

Fey as a diminutive creature; as tiny as precious as sweet as dandy-candy as dollish as campy as kawaii as cute. “Cuteness,” as defined by Sianne Ngai (in her essay, “The Cuteness of the Avant Garde”), “might provoke ugly or aggressive feelings, as well as the expected tender or maternal ones. For in its exaggerated passivity and vulnerability, the cute object is as often intended to excite a consumer’s sadistic desires for mastery and control as much as his or her desire to cuddle.”;

Fairies can magic themselves to appear stunningly beautiful or terrible and hideous; fey as illusion, as guise, as disguise, as persona, as performance, as enchantment, as in glamour. Glamour: the powerful and subtle magic of the fey that casts an illusion of physical perfection; it makes people see what is not there; glamour as in manipulation; as in subterfuge;

glamour as a means to delve into cultural and gendered expectations of beauty; sprezzatura; glamour as class fantasy or luxury; glamour as fashion;

fashion as surface layer; as blue lipstick, as butterfly hair clip, as glitter, as jelly shoes, as heavy eyeliner, as in Renaissance Faire wings, as velvet, as silk, as sheer, as falsies, as Peter Pan collars, as kinderwhore baby doll dresses, as knee-socks, as platform shoes, as combat boots, as clip-on septum ring, as lace choker, as pastel goth Tumblr reblogs;

Fey as trans; fey as magical transformation as transgression as transmogrification as alchemy;

Fey as crystals as tarot as dream interpretation as woo-woo;

In old French romance, fee was a woman skilled in magic. All those women were called Fays who had to do with enchantment and charms and knew the power and virtue of words, of stones, and of herbs, by which they were kept in youth and in great beauty and in great riches;

Fey as in demoted angels; as in fallen pagan deities; as in demons; as in witches and witch’s familiars; as in spirits of the dead;

Fey as “fated to die” or “at the point of death”; as the fey are unknowable to humans, so is the body unknowable to the mind (or is it vice versa?);

Fey as an enchanted gateway into the mind, a fey framing of mental health;

Fey as perversion as aberration as get-yr-freak-on as erotica as nymph as satyr;

Fey as in fairy rings, as in, circles of mushrooms; fairy rings as hallucinogenic excess, as psychedelic odyssey, as psilocybin meanderings;

likewise, just as a mortal is never supposed to step inside a fairy ring, they are not supposed to eat Faerie food, or accept a Faerie gift, no matter how beautiful or delicious; a fairy knows your innermost desires, and will fulfill them, but at a terrible price…;

Fey as dryad as naiad; as living in woods and forests and lakes; fey as a means to discuss ecopoetics, dark ecology, object-oriented ontology, and the Anthropocene; as a model to challenge humanity’s ethical relationship to other animals;

Fey as in “fairy!”; as in derogatory; fairy as a slur, as in slang to repurpose, celebrate, reclaim, subvert; fairy as means to discuss the conceptual frameworks of homonationalism & pink capitalism; fairy as nancy as sissy as pansy; fairy as batty boy as maricón as faggot aesthetics; as femme perspectives; as twink soliloquies; as sapphic desires; as Radical Faerie communities; as ultra-cuntiness; as queer rage;