New England Review occupies a distinguished position among American literary magazines, with a history of publishing fiction that prizes formal control, emotional precision, and intellectual seriousness over trend or spectacle. The journal's fiction section has long been a home for the short story as a deliberate art form—work that earns its length, whether that length is a single page or a novella. The editors' stated openness to translations, novel excerpts that stand alone, and very short fiction signals a catholic but rigorous sensibility: the criterion is not category but quality of execution. The submission window is fixed and finite. Reading opens September 1 and closes November 1, though the magazine reserves the right to close earlier if submission volume exceeds capacity—a practical reality that rewards early submission. A $3 fee applies. Fiction submissions may include short stories, short shorts, novellas, novel excerpts capable of standing alone, and translations. The word limit is 20,000, but the editors note that most of what they publish is shorter than 10,000 words. Submitters should send only one piece at a time unless the pieces are very short (under 1,000 words), in which case up to three may be sent. Previously submitted stories should not be resubmitted. What the journal offers is publication in a venue with a long institutional memory and a readership that takes fiction seriously. There is no prize attached to this call, no theme imposed, no aesthetic doctrine to which one must pledge allegiance. The curatorial vision is implicit in the guidelines: work that can sustain attention, that understands the difference between a story and an anecdote, and that respects the reader's intelligence. The editors' willingness to consider novellas and translations alongside conventional short stories suggests a genuine interest in range—but range in service of depth, not novelty.