The Blog

Online submission app unaffected by Heartbleed

TIR staff

Have no fear, TIR submitters! Our online submission application was not affected by the Heartbleed bug. Your credit card information is safe.

Submittable, the company that runs our submission system, has issued the following statement:

The Heartbleed bug is a very serious exploit and it affects a very large number of sites—big and small. Fortunately, Submittable's systems do not use OpenSSL, so we were unaffected by the Heartbleed bug. SSL connections to Submittable services were never at risk of being compromised.

Please note that just because Submittable was unaffected does not mean that your password is not at risk. If you used the same password on any other sites that were affected by the bug, then you probably want to take the extra precaution of changing that password on every site it was used.

Allison Seay's TO SEE THE QUEEN

Nick Ripatrazone

In Liliana, the first section of Allison Seay's debut collection To See the Queen, the word “figment” appears enough to create a recursive rhythm. Typically appended to “of the imagination,” the word feels lost without the phrase, and is thus perfect fodder for poetry. Seay’s figment is malleable. It is first Liliana, but a ghost-self, something to be seen only if “I am still enough.” That figment “vanishes, / as God does,” but “returns in a different form — / this time as an avalanche, a ledge of snow, slipping / from the roof of a warehouse into / even more snow.” The narrator will tell this figment, this woman, this God that “slipping off / into some indistinguishable state” is “one way of living.” To live as a figment is to be without fixed form.


Rachel Z. Arndt

“Did we feel then, or do we feel now?” is the first question in No Regrets—n+1's new book of discussions with twelve female writers, editors, academics, and artists—that comes from a participant, not the moderator. There are two important words in that question, both of them said twice. “We” establishes a unity among the participants, and “feel” establishes that that unity comes from being women.

John Gosslee's Guerilla Poetry: BLITZKRIEG

Beth Gilstrap

Last year was a tumultuous year for poetry. Two giants published articles lamenting poetry’s demise. Contemporary poets scratched their heads, banging out fiery responses. Yes, the literary world can be insular, particularly for poets, but it is staid only to those who willfully turn their attention to tired arguments of dying forms. One need only look to poets like John Gosslee and his recent book Blitzkrieg to find evidence of life. Here is a poet who reaches out, tries something new, and embraces textual hybridity. 


Subscribe to The Blog