We invite contributions of:

All submissions should be made in hard copy only, sent by post to:

The Dalhousie Review
Dalhousie University
Halifax, Nova Scotia
B3H 4R2 Canada

Please include an email address, which we will use to notify you of our decision. If you would prefer notification by post, or return of a manuscript that we do not use, please include a self-addressed envelope and return postage in Canadian stamps or International Reply Coupons.

Once a work has been accepted for publication, its author should supply an MS Word file, sent by email attachment to Authors will also be asked to supply a brief (2–3 line) biographical note.

We discourage simultaneous submissions. Authors of accepted material are required to provide their assurances that the work has been neither published nor accepted for publication elsewhere. We accept submissions year-round, and while we do our best to respond within 3–9 months, occasionally the volume of submissions further extends our response time.

Authors will receive two complimentary copies of the issue in which their work appears, along with ten offprints. Additional offprints and copies may be provided at cost.


Because the readers of The Dalhousie Review have all sorts of backgrounds and interests, we look for articles that will appeal NOT merely to academic specialists in some particular area.

On rare occasions we have printed essays as long as 10,000 words. But most of our essays are around 5000 words long. Because we always have a problem fitting everything we'd like to print into our limited space, we tend to look more favourably on shorter submissions.

Articles will often require documentation, and this should be done by means of footnotes. The first reference to the work should give place, publisher, date, and page numbers:

1 Kazuo Ishiguro, The Remains of the Day (Harmondsworth: Penguin, 1990), 42.

while subsequent references can use a short form:

1 Ishiguro, The Remains of the Day, 149.

Where possible, repeated references to a specific work should be incorporated in parentheses within the text, with the initial note to read as follows:

1 Kazuo Ishiguro, The Remains of the Day (Harmondsworth: Penguin, 1990), 42. Further page references to this work will appear in parentheses within the text.

Quotations from articles in journals should be cited in this way:

2 Barbara Ritter Dailey, "The Husbands of Margaret Fell: An Essay on Religious Metaphor and Social Change," The Seventeenth Century 2 (1987): 156–64.

And articles in books like this:

3 Lorrie Jerrell Leininger, "The Miranda Trap: Sexism and Racism in Shakespeare's Tempest," in The Woman's Part: Feminist Criticism of Shakespeare, ed. Carolyn Ruth Swift Lenz, Gayle Greene, and Carol Thomas Neely (Urbana: U of Illinois Press, 1980), 289.

And in magazines and newspapers:

4 Henry Louis Gates, Jr., "The Naked Republic," The New Yorker 25 Aug.–1 Sept. 1997: 114.

5 Margaret Philip, "CUPE Supports Same-Sex Couples," The Globe and Mail 21 June 1997: A5.

And from websites:

4 Evanston Public Library Board of Trustees, "Strategic Plan, 2010–2020: A Decade of Outreach," Evanston Public Library, (accessed June 9, 2009).

Please, however, try to avoid long endnotes that are not source documentation, but instead are parenthetical digressions, lists of other authorities, etc. If it's important that these be included, put them in the main body of text. If it's not important, leave them out.


Creative non-fiction, prose fiction and poetry

Beyond our spelling preferences being those of The Canadian Oxford Dictionary ('catalogue,' 'colour,' 'program,' 'travelling,' 'theatre,' and so on), writers of creative non-fiction, fiction and poetry are encouraged to follow whatever canons of usage might govern the particular work in question, and to be inventive with language, ideas and form. Works of fiction should in general not exceed 5000 words, and poems should in general not exceed 40 lines, but there will of course be valid exceptions to these rules. Unless the story is very short, we encourage only one submission at a time; authors of poetry may wish to submit up to 5 poems at once.


Book reviews

Book reviews are in general commissioned, but proposals to review particular books will be considered. We give preference to small-press, Canadian titles.

Reviewers should aim at a length of 1000 words. Some reviewers may find that they have much more to say than can be fit in this limit, in particular for reviews of multiple titles. Self-restraint is encouraged. We won't turn back reviews exceeding our limit somewhat, but we can't accept reviews that are much longer.

Email submission of your book review is preferred. Send it (as an MS Word attachment) to

Reviews usually will be subjected to minor copy-editing and printed without feedback to the author. However, if any significant changes are necessary—for example, because of excess length—the review will be returned to the author for revision. Please supply an email address where we may reach you.

Book reviews begin with a heading similar in form to the following example:

Rewriting the Soul: Multiple Personality and the Sciences of Memory.
By Ian Hacking. Princeton: Princeton U Press, 1995. ix, 336 pages. $24.95.

The components of the heading are the title of the book (in italics), the name of the author as it appears on the title page, the place of publication, the name of the publisher, the date of publication, the number of pages (preliminaries in small roman numerals and the rest in arabic), and the price (in Canadian dollars if possible). If the currency is not in Canadian dollars it should be specified: $49.95 US.

Reviews should be signed at the end with the name of the author and the place of writing (university or city) at the right.

Book reviews should not include footnotes. Even if a work other than the one being reviewed is referred to, it should be cited within the text.

Authors are asked to remember that writing style always matters, in book reviews as in other textual creations. You will receive copies following publication. And of course you are entitled to one of the small rewards of reviewing: the pleasure of owning the book after the job has been done.


Editors, Staff, and Advisory Board


Carrie Dawson

Associate Editors

Ian Colford
Krista Kesselring
Meghan Nieman

Production Manager

Jennifer Lambert

Editorial Intern

Pearl Chan

Editorial Advisory Board

Carol Bruneau
Chris Donahoe
Alyda Faber
Kevin French
Sue Goyette
Gugu Hlongwane
Susan Kerslake
Bertrum MacDonald
Alexander MacLeod
Anne Simpson



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Dalhousie University