Send us your Work

Hello Reader,

Did you know that we are open for submissions of poetry, prose and art. If selected your work will be published in 003 of Foxtrot Uniform. We want to see your new poems, short stories, essays, collages, sketches, or anything else you might’ve done. Foxtrot Uniform is a free space to express yourself. Our magazine is your magazine.

We already have some amazing submissions but we think there’s more to see! If you would like to have your work published, email and attach up to 5 pieces in a word document, along with your name and address. Every person that is published will receive a free copy of the magazine and their work will be immortalised in print alongside some other great creatives.

So what do we like to see?

Foxtrot Uniform is a free space for creatives to share their work. We like to see the unseen, the form bending, the formless, the political, the surreal, the beautiful, and the ugly; if your work is different and new we will probably like it…

So what are you waiting for, email us some poetry, prose, or art…


The October Review

Words by the Founders; Photo by Rafe Usher-Harris

Each month Foxtrot Uniform will be reviewing new books, poetry, plays, music or events that we have experienced over the passing month. October has held a lot: Catalonia declared independence, ending in Spanish arrests and crisis; Hollywood and Westminster have been gripped by sexual assault allegations. Yet, the month has been a good one for us, with the publication of the first issue of our magazine. It’s also been a good month for the literary community as you’ll see in this month’s review:

Penguin Modern Poets 6: Die Deeper into Life
By Claudia Rankine, Maggie Nelson, and Denise Riley
Published by Penguin, 26th October 2017

A reboot of the 1960-70’s series, this sixth volume of the Penguin Modern Poets series bridges the gap between poetry and prose with long and short pieces by two American and one English poet. An amazing place for the seasoned poetry reader to rekindle a passion, Modern Poets is also a great way for new readers to delve into the world of poetry. With sweeping poems that fall onto both portrait and landscape pages, this really is the world of contemporary poetry. Each of the poets in this collection have jobs outside poetry ensuring that the poems are truly ‘real-world’ poems; from history and philosophy to Marxist politics this really is poetry for the world.

From Here To Eternity: Traveling the World to Find the Good Death 
By Caitlin Doughty
Published by. W.W. Norton & Company, 3rd October 2017

In a search for the ‘good death’, Caitlin Doughty explores different cultures’ ways of treating their dead. She discovers and participates in powerful death rituals, that are mostly unknown in the Western world, and discusses a topic which society usually avoids.

Coupled with beautiful illustrations, and Caitlin’s own experience of being a mortician and running a funeral home, it is a book which allows you to explore various different cultures ways of treating their dead. From Japan, Bolivia, Indonesia, Mexico, to Spain, it is both eye-opening and wonderfully intriguing. Definitely one for those interested in the treatment of death and cultural differences.

That Inevitable Victorian Thing
By E.K. Johnston
Published by Penguin Young Readers Group, 3rd October 2017

Set in the near future, That Inevitable Victorian Thing follows the princess of the empire, Victoria–Margaret, who is a descendant of Victoria I. The princess, due to marry, first has a summer of freedom.

Johnston inventively explores the significance of Queen Victoria as a strong, powerful figure who made significant changes in the course of history with a futuristic twist. The novel involves Victorian values of marriage in a postmodern setting using DNA to create suitable matches. This exploration of the nature of relationships and attitudes towards social conventions is applicable to our current society.

A Glossary of Years
By Linda Rose Parkes
Published by Under The Radar, Issue 19, Summer 2017


A poem in fragmented structure discussing the struggle translating German words learnt from her years spent in Germany into English.


Structuring the poem with very little punctuation and harsh gaps between sentences represents the gap in translation between German to English in a very broken way, almost saying ‘these are German words, not perfect in English but why must they be?’. The narrator comes across as breathless in the first part of the poem, compressing definitions and historical artefacts together, making the reader uncomfortable on purpose (and I suspect I feel something very different to a reader who could speak both English and German.) The one stanza that stands out is the smallest: ‘die Scheide vagina / Separation   die Scheidung’. Such clever use of form, space on the page and translation in just six words: a perfect microcosm of the poem that I think sums up what the poet is trying to get across.





Poverty: A Real Fantasy?

Article by Reece David Merrifield; Photograph by the Salvation Army – ‘Coffin Beds’ at a Salvation Army Shelter in London

In Science Fiction novels and films, there always contains an element of society that is fictionalised and brought into a ‘safe space’; e.g. the fear of technological advancement in Do Androids Dream of Electric Sheep? or media monopolisation in Fahrenheit 451. We may come away from these SF’s with an initial attitude to challenge these aspects in our reality. Nevertheless, this rarely lasts for a period long enough to make a real impact and, because they are in said ‘safe space’, these fears seem too far away to be worried about them in the first place. Interestingly, when faced with realist texts that talk about the absolute poverty rife in our lives, even today, it seems we react in the exact same way.

Down and Out in Paris and London by George Orwell is a perfect example of this. I recently read this novel and was simultaneously appalled yet intrigued by its content. Bearing in mind he was writing about his experiences in the late twenties/early thirties, the sort of poverty he lived through is still experienced by millions around the world at this present moment. In-fact, you could go as far as to say Orwell’s ‘poverty’ was almost luxurious: he always managed to have money in his pocket and worked most of the time as well. Barring this, a quite harrowing aspect is his analysis ‘of intelligent, cultivated people’. He makes the valid point that these people can go as far as understanding a poor man’s situation through ‘ a hundred essays’, but they never mix with such people and, in doing so, can ‘enjoy harrowing [themselves] with the thought of its unpleasantness’ and not go to the lengths to change things because it is comfortable for them. It becomes a borderline fiction, a dystopia on the doorstep, but never really crosses the line into reality.

Bringing it back into conventional terms, consider this essay: it would be read (I presume) by liberal people far from the poverty line assuming they have in possession a means to access the internet and, from there, the ability to read, a place of shelter, and a way of feeding their bellies. I will admit, I am one of these people and have never been close to experiencing any kind of poverty. Orwell sums this up when he states: ‘For what do the majority of educated people know about poverty?’. I knew very little up till now, and still have a long way to go.

Another reference which inspired this mini-essay is an article titled ‘The Literature of Poverty, The Poverty of Literature Classes’ by John Marsh. Although I find the essay can be slightly pessimistic, he brings up the flaws of an educational system (both British and American) which teaches children how to critically evaluate a text without considering what they are being critical about. Do most of them really care whether they are learning about the Brave New World from Huxley’s imagination or Steinbeck’s Grapes of Wrath, a tale rooted in the dust-bowl reality of the Great Depression, as long as they are able to make the grade? The words are there, so why should it matter what they talk about, poverty or not, as long as they can be analysed sufficiently? The two texts lie on opposite ends of the spectrum in relation to genre, yet in the middle of the spectrum lies those ‘intelligent’ people who are so distant from both that they become, in effect, dystopian fantasies. The ability to understand the themes may be there, but in practical terms those themes are alien and difficult to empathise with. I may be stretching the point to its limit, but it is certainly plausible.

Poverty is certainly out there, yet we treat it like a science fiction for a number of reasons: greed, ignorance, a lack of understanding and a feeling of inevitability, amongst many others. To end, I leave you with a poem in Louis Aragon’s Paris Peasant, titled ‘The Realities’, as a reminder of the blur between fantasy and reality:

Once upon a time there was a reality
With her own flock of sheep in real wool
And as the king’s son came passing by
The sheep bleated Baaah! how pretty she is
The re the re the reality

Once upon a time there was a reality
Who never could get to sleep at night
And so her fairy godmother
Really took her by the hand
The re the re the reality

Once upon a time there was an old king
Who got very bored as he sat on his throne
His cloak slipped off into the evening
So then they gave him for a queen
The re the re the reality

Coda: ity ity the rea
Ity ity the reality
The rea the rea
Ty ty The rea
Ty The reality
Once upon a time there was the reality



George Orwell’s Down and Out in Paris and London (Penguin Classics, 2001)
Louis Aragon’s Paris Peasant (Picador Classics, 1987)
John Marsh’s ‘The Literature of Poverty, The Poverty of Literature Classes’ (College English Online, 2011)

The Importance of Influence

How an Author’s Life Influence their Literary Works:

Every individual experience that we have affects our personality. This, in many ways, is the biggest influence over an author’s writing. An author is influenced by their past, which will translate into their work. Gender, Race, and socioeconomic statuses are also a huge influence over a piece of writing. Each personal experience within each of these categories can affect the way a person views the world, and therefore this will have a huge impact on the work an author produces.
It is also important to acknowledge influence of other authors. Not only does an author’s life affect their work, but the work they have read and the things they have enjoyed. Everything a writer has done was influenced by people of the past, and everything an author has done will influence literature in the future. Literature is constantly evolving into new and exciting forms, which are still informed from the past. The picture above is good example of the ‘tissue of quotations’ idea, presented by Roland Barthes. It is clear that every poet has been influenced by other poets, and this is true not only of literature, but of other art forms too.

Bret Easton Ellis – ‘Ernest Hemmingway had a lot of influence on me. But I like a lot of writers… I like Robert Ludlum, Stephen King, Phillip Roth, Don DeLillo, and the romantic life of Jack Keroauc, even though I’m not interested in his fiction – but I liked his life.’
Ernest Hemmingway – “Mark Twain, Flaubert, Stendhal, Bach, Turgenev, Chekhov, Andrew Marvell, John Donne, Maupassant, Shakespeare, Mozart, Quevedo, Tintoretto, Hieronymus Bosch, Brueghel, Patinir, Goya, Giotto, Cézanne, Van Gogh…’
Ray Bradbury – ‘I read everything by Robert Heinlein and Arthur Clarke, and the early writings of Theodore Sturgeon and Van Vogt—all the people who appeared in Astounding Science Fiction—but my big science-fiction influences are H. G. Wells and Jules Verne’
Hillary Mantel – ‘no book has mattered to me as much as the dirt-cheap Complete Works of Shakespeare’
Joyce Carol Oates – ‘I’ve tried to be influenced by Poe… but I feel a writerly kinship with Joyce.’

Every artist has their influence. Let us know who or what inspires you, in the comments below…

Meet the Founders…(4)


I am Jade.


My role within Foxtrot Uniform is the Head of Publishing and Artistic Director. I was the second person to become involved in Foxtrot Uniform due to my knowledge of publishing and editing, as well as my artistic and writing ability.


I have loved reading literature since I was very young, constantly spending hours reading when and where I could. I began writing at age 13, but seriously took up the idea of being an author aged 15. As well as poetry, I enjoy writing prose and drama, being heavily influence by my acting history. I have written short stories, a novella, two plays and various amounts of poetry in recent years.


My writing process begins with throwing my ideas down on the page, followed by a heavy editing process in order to create the desired outcome. I particularly strive for eloquent and poetic language across all mediums of my work, taking influence from the likes of Shakespeare and Allen Ginsberg.


As a multifaceted creative person, I have to divide my time between art, drama and writing. I often find myself drawing or painting, as well as attending the theatre and joining the thespian society at my university.


I look forward to reading your submissions, if you have any inquires please don’t hesitate to email us.







Hello reader,

You are almost as new to this as we are. We have set up this magazine in order to free the modern author. Foxtrot Uniform is not constrained by form or literary prowess: it is for writers and readers, thinkers and listeners, lovers and fighters. Foxtrot Uniform hopes to give a platform to published and unpublished writers alike; allowing anyone to get their foot on the road to a wider readership. We will be accepting a mixture of poetry and prose for publication in the magazine. So, as long as your piece is written down and is original we will look at it and potentially (probably) publish it.

We set up Foxtrot Uniform in our second year of university to free the multitude of young writers fighting to be heard – or more likely read. We had found that if publishers don’t like you, your style, or theme then they just won’t accept your poetry. So in the spirit of the Beat Generation and the fanzines of the punk era, Foxtrot Uniform will be accepting new and exciting forms of writing along with explorative ways of using existing forms. Nothing’s off limits, the page is utterly yours!

We have set Foxtrot Uniform up in such a way that there is not just one Editor, the founders are equal in judgement. Each with their special roles. This wider scope in editorship means that personal preference will not get in the way of publishing; each piece will have to go through at least 3 of the founders before it is discarded or accepted. This means that you are more likely to get accepted and published.

We look forward to receiving your work…

Yours creatively,

Joshua (Editor/Founder)