Submissions for Atlas Poetica : A Journal of World Tanka will open 15 November 2014. Please do not send submissions before then.
PLEASE SEND ALL SUBMISSIONS TO: submissions (at) atlaspoetica.org
Atlas Poetica : A Journal of World Tanka is expanding its mission and changing our subtitle to reflect that. As of ATPO 20 (2015) we are Atlas Poetica : A Journal of World Tanka . We maintain our interest in tanka poetry of place, but we will also publish other work with strong imagery and a lyric presentation. We strive to publish not only good tanka and sedoka, but innovative, fresh, and experimental tanka and sedoka poetry and their variants.
In addition, we are changing our publishing schedule to an organic serial in which each issue will publish as it fills. We guarantee that we will publish at least three times a year, but hope to publish more often. To accomplish our new schedule, we will always open to submissions of poetry, non-fiction and book reviews, as well as announcements and book notes on a space available basis.
The new format will be simpler in order to permit a ready conversion to ebook. Past issues will continue to be archived on the website on a space available basis.
SUMMARY OF SUBMISSION GUIDELINES
Atlas Poetica welcomes unpublished tanka/waka/kyoka/gogyoshi/, monotanka, tanka prose, tanka sequences, shaped tanka, zuihitsu, sedoka/mondo/cherita and their variants, including collaborative works by more than one author. We welcome international submissions, but require that poems written in languages other than English be accompanied by an English translation. Limited translation services are available in several European languages. Query first if translation is needed. In addition, we will NOT accept poems that are English translations only, the poem in its original language must be included. The submitter, by virtue of submitting works to Atlas Poetica, certifies that he or she is the authorized agent of all author(s) and translator(s).
ATLAS POETICA’S SELECTION CRITERIA
We are interested in both traditional and innovative verse of high quality and all serious attempts to assimilate Japanese tanka, sedoka and zuihitsu traditions into English and other languages around the world. We encourage submissions in translation and non-fiction articles relating to tanka poetry of place and international tanka as well as articles addressing various aspect of the writing and reading process. Our audience is interested non-fiction written at all levels from beginner to advanced. Non-fiction features range from 500–5000 words. Query for longer articles. We are also interested in publishing book reviews, and our large size allows us to often publish more than one viewpoint about a book of tanka, sedoka, or zuihitsu.
Our touchstone is tanka and its close relatives, waka, kyoka, and gogyoshi, but we will accept sets and sequences in which tanka is the basic unit of organization, but which may include verses in other forms, including haiku, cherita, couplets, monostiches, quatrains, sedoka, prose, etc. Thus a Wilsonian sequence, a tanka sequence with a haiku envoy, or a sequence in which sonnets alternate with tanka are some possible examples. We also accept one line, two line, three line, four line, and other non-standard lineations in tanka.
We also accept ‘shaped tanka’ in which special formatting contributes to the work. Such visual layouts are limited to a maximum of two side by side 8.5″ x11″ pages (excluding margins, gutter, and footer) for a total area of 14″ x 8.5″. We do not accept illustrated tanka. Due to incompatibilities between computer systems, formatting does not always survive, therefore your submission should include a plain text version along with the specially formatted version. Unintelligible submissions will be rejected. DO NOT SEND ATTACHMENTS unless requested. If we are interested in a submission that has special needs, we will request an attachment and provide technical specifications for it.
New in 2015: We accept sedoka, mondo, cherita, and other six line forms and their variations, as well as zuihitsu.
We welcome all approaches from the traditional to the innovative, but we are especially fond of ‘akarui’—bright, light, illuminated, brilliant, shiny, brassy, active, energetic, noisy, loud, happy, drunk, passionate, wild, playful, vivid, and boundless. That doesn’t mean you can’t send us dark poems—black is a color too—but it should be an active darkness, not a hand wringing, genteelly sighing darkness. Please avoid conventional tropes such as cherry blossoms, kimonos, and spreading a loved ones ashes.
We will consider are items that were socially published through Twitter, Facebook, the author’s blog, or similar venue. Items that have appeared in an edited venue are not eligible. We will also consider limited edition items that were published in either small circulations (less than 50, eg, a handout to your class) or were privately distributed (eg, gifts given to friends and relatives). All reprints must be identified as such with their place and year of publication.
INTERNATIONAL CHARACTER SETS
We accept tanka in international alphabets; however, we may require your assistance in handling non-European fonts. We are able to handle most accented Latin characters and Capecoast (African) characters, as well as Chinese, Japanese and Hebrew, and probably others as well. Send a query with a small piece of sample text in the designated language/character set; we will let you know if we need additional assistance. The sample text should appear in the body of the email. Do not send unsolicited attachments.
MULTI-AUTHOR WORKS, TRANSLATORS, AND AGENTS
We accept multi-author works if the submitting author includes a statement of permission from the other author(s) and/or translator(s) designating him/her as their authorized agent with regard to the work. Cc to the represented authors/translators is usually deemed sufficient notification. The publisher, editor, and other staff at Keibooks are obliged only to notify the designated agent. It is the agent’s responsibility to convey information to the author(s) and translator(s) s/he represents.
We accept tan-renga, multi-author tanka, collaborative tanka, and responsive tanka. Do NOT send renga/renku that would be welcome by mainstream haiku magazines; we are seek to promote the development of tanka literature in English.
Works which depend on another author’s works, such as ‘found tanka,’ must either be accompanied by the original author’s permission, or constitute ‘fair use’ as designated by the laws of the United States and the treaties regarding copyright to which it is party. When any doubt arises, we take a strict view of copyright matters and will not publish questionable work.
Tanka is a short, compact, lyric poem composed of five poetic phrases, originally from Japan. In English, tanka is a genre as well as a form; it is not just any five lines. For example, it is not a limerick. It is also not a free verse; maintaining the five units of prosody and meaning is more than simply sticking a line break into to separate the poem onto five lines. Tanka are literally ‘short songs,’ so lyricism is a must. Tanka is a wide ranging genre that can address all subject matters.
Kyoka is a humorous, satirical, playful version of tanka. It is composed of five units of prosody and meaning, but lyricism is not required. Word play is a major component of kyoka. Kyoka carry content frequently found in limericks and bumper stickers in English. Where lyricism is the prime aesthetic of tanka, wit is the prime requirement for kyoka.
Gogyoshi is a short five line poem originally from Japan. There is no requirement regarding form or aeshetics, but gogyoshi typically embody Japanese aesthetics with a particular emphasis on ‘kokoro’ lit. ‘heart.’ In other words, sincerity. Gogyoshi are prized for their unadorned presentation of sincere feelings and ordinary events. (We do not use the term ‘gogyohka’ because it is trademarked in Japan, and our journal is sold in Japan.)
Sedoka is a short lyric poem originally from Japan composed of six units of prosody and meaning. They are often subdivided into two parts with the upper part forming a call and the lower part forming a response; when two voices are made explicit (as when the two parts are written by two different poets), they are called a mondo. Sedoka were obsolete early in Japanese literary history, so they lack the intensive development of tanka and its corresponding literary problems.
Cherita is a six line form invented by ai li. Cherita are a Western invention derived from the Japanese tanka and sedoka. The first line forms a verse, the second and third lines form a verse, and the fourth, fifth and sixth lines form a verse. Each verse is a coherent statement and the three build the story of the poem.
In Japan, tanka and kyoka follow a pattern of 5-7-5-7-7 syllables, known in English as ‘sanjuichi’ (from the Japanese word for ‘thirty-one’). However, obtaining the same lightness and suppleness in English usually requires a shorter word count. ATPO does not require any particular pattern or length, but it does not accept works in which the author’s sole understanding of Japanese poetry is the syllable count.
We accept all forms from microtanka to sanjuichi to SLSLL to free style tanka to shaped tanka. We also accept wordplay and puzzle kyoka, such as acrostics, flats, ‘hidden name’ and other games as long as they adhere to the guidelines.
WHAT WE DO NOT PUBLISH
We do not publish poems which are not tanka, waka, kyoka, gogyoshi, sedoka, mondo, cherita, zuihitzu, or one of their recognized variants. We do not publish material that is doggerel, pornographic, hateful, or bigoted. We do publish work with frank language and taboo subjects. All decisions are made at the sole discretion of the editor.
THE IMPORTANCE OF PLACE
We were founded as a journal of tanka poetry of place and international tanka, and these are two realms that remain dear to us. However, over the years we have broadened to include other content, so we are making explicit that all content is welcome in the journal. However, place information must accompany every poem. If no place information is supplied, the author’s country of residence will be assumed to be the place for each poem accepted.
We will publish short explanatory notes on a space available basis; the author should consider turning longer notes into a work of prosimetrum. Generic and cliched poems are not wanted; poems that evoke a strong sense of being in the world are what we seek. We do not usually publish poems about the writing process, dreams, or other purely internalized subjects.
BOOK REVIEWS AND NOTES
Atlas Poetica cannot guarantee that we will review unsolicited books; we may choose to review such an unsolicited book or not. All books received, solicited or unsolicited, will not be returned whether reviewed or not. We publish “Book Notes” and announcements on a space available basis. (Haiku-only announcements will not be published.) If you wish to submit a fully written Book Note (300 words maximum), we will consider publishing it; no guarantees. No biographical entry is published with a Book Note. For both book reviews and notes/announcements, those which have some relevance to the scope of Atlas Poetica will receive priority. Book notes and announcements do not need to be translated into English.
ARTICLES AND ESSAYS
Atlas Poetica is interested in serious articles and essays of interest to our target audience, which is to say, readers of tanka poetry around the world. Any length is acceptable with a target range of 500–5000 words. We are sensitive to copyright infringement, so be certain that you provide any necessary permissions for works quoted in an article or essay, or that your use constitues ‘fair use’ as defined by the copyright laws of the United States of America. Please see the U.S. COPYRIGHT OFFICE Information Circulars and Factsheets webpage for more information on copyright. We may solicit articles and essays, but we are also glad to receive them after queries or even over the transom.
The criteria for publication of articles and essays are that the topic be of interest to our readers, that the author(s) have something fresh to say, and that the article or essay be well written. We are interested in items aimed at anyone from amateurs and casual readers up to literary critics and PhD candidates. We particularly welcome articles which provide information about tanka traditions around the world. Articles can be written in any language and need not be translated into English. However, Atlas Poetica has a limited range of languages which we can read and translate, so this will necessarily effect our ability to make informed decisions about articles in languages other than English. Please inquire before submitting an article without an English translation.
We do not exclude good articles simply because they propose an idea with which we do not agree. We do not publish inferior articles on the basis of their agreement with our various positions on relevant matters, and we do not publish articles simply because they are by well-known names. In short, the publication of articles and essays is decided according to our editorial criteria. Concomitantly, publication of any article or essay in Atlas Poetica cannot, and should not be, taken as Atlas Poetica’s or Keibooks’ endorsement of the propositions and ideas contained therein. We publish, as we are able, multiple viewpoints.
LETTERS TO THE EDITOR
Letters to the editor of Atlas Poetica are welcome and may be published in the currently open issue. Please put “LETTER TO THE EDITOR” on the subject line of your email to distinguish letters intended for publication from other correspondence. Your letter may be edited for grammar, spelling, or brevity.
All submissions must be accompanied by a short biography written in the third person—even if you have submitted your bio before, pleased don’t make us go digging into previous issues to find it. Bios should always accompany submissions and must include all contributors, such as collaborators and translators. A biography is not a C.V. While mention of accomplishments relevant to ATPO’s field are welcome, a biography should give a sense of who the author is as a person, not merely a list of publications. If no biography is provided, a biography will be supplied in the form: Poet’s Name, Country Name. No live links are provided.
NO GRAPHIC ART
Atlas Poetica does not publish unsolicited graphics of any kind. Our covers are planned years in advance to create a harmonious sequence when viewed side by side, so we do not need cover art submissions.
We do NOT work with contributors who fail to exhibit professionalism, who engage in dishonest or abusive behavior, who are rude or insulting to our staff or colleagues, who lack integrity, or who will not follow our guidelines.
NO SIMULTANEOUS SUBMISSIONS
Please do not submit anything on offer anywhere else. Generally speaking, if you submit within the designated window, you will have a response within two months. However, due to the exigencies of publishing, until the issue actually goes to print, there is no guarantee. It is rare, but sometimes necessary, to make last minute cuts or changes.
We will consider excerpts from a book of tanka or sedoka of up to twelve poems. Such excerpts must be identified as such, and must contain an introduction with the title, author, publisher, date of publication and any other relevant information. A short biography written in the third person for the author(s) or editor(s) must accompany the excerpt. Excerpts will be published on a space available basis. Priority will be given to excerpts that embody our editorial vision.
PLEASE NOTE: This is an edited review. We DO NOT publish everything that is submitted to us. We reserve the right to exercise editorial discretion in all cases. There are plenty of other venues to publish poetry if you do not agree with our guidelines and decisions. We recommend our Resource section (upper right button) to learn more about them.
Occasionally, we may want to offer some editorial comment, assistance, guidance, etc., in which case, we will respond to your submission before publication. You always have the right to decline to make any changes suggested, and we have the right to decline to publish the work if it does not meet our criteria. You will always receive an explicit response from us indicating that your work is being accepted, declined, or held for further review. In the event you make multiple submissions, we will respond to each submission individually. Thus, if you submit A and B to us, and we decline A, that means only that we have declined A. You will receive a response to B when we make our decision on that item. Not all decisions are made at the same time.
If your email doesn’t work, then you will not receive your notification. Likewise, if your spam filter/security software rejects our email, you will not receive our notices. We will attempt an alternative email if we have it, but it is up to you to maintain an open line of communication with us.
We strongly encourage all prospective contributors to subscribe to Keibooks-Announce (at) googlegroups (dot) com. This announcement-only email list sends 0-6 announcements a month regarding Atlas Poetica, as well as the literary projects of M. Kei, owner and publisher of Keibooks. It does not forward other items.
We seek first world English rights, including print, digital, and online versions, plus the right to reprint the work in our compilations and archives. Exceptions are granted on a case by case basis and should be queried in advance. Complete publication history must accompany previously published works. The journal appears in both print and ebook forms, therefore it will remain in print indefinitely but may be withdrawn or changed at the sole discretion of the publisher. We also have the right to reprint the work to promote the journal or educate the public about the journal, such as press releases, sample content, readings, etc. The publisher is not required to notify the contributor regarding such items.
If we discover that the work has been previously published or submitted simultaneously, we will reject it. Errors happen, and we appreciate being notified when they do. However, a submitter who develops a record of failing to respect our submissions policy runs the risk of not being published at all. There are many fine poets who understand the importance of editorial guidelines and are happy to comply with them.
We have an exclusive right to publish your poem from the time you submit it until ninety days after the print edition becomes available. At that time, all rights revert to the author(s) and are free to be submitted elsewhere. In the event that a poem first published by Atlas Poetica is reprinted elsewhere, we expect a credit to be given, e.g. “First published in Atlas Poetica [#].”
If you wish to republish the poem during our period of exclusivity, you need our permission. However, once our period of exclusivity has expired, you are free to publish it anywhere you like and do not need our permission and do not need to notify us. Poets are encouraged to purchase the issue in which their work is published, but it is not a requirement for publication.
NO PAYMENT FOR CONTRIBUTORS
Publication is payment. Sadly, the exigencies of small press poetry publication mean that the journal earns just enough to keep itself afloat. Therefore no payment will be made. No contributor copies are furnished free. There will be no payment of any kind for contributions to any issue of Atlas Poetica.
Educational Use Notice
Information from the US Copyright Office
If you choose to submit any work(s) for publication in Atlas Poetica, please read and follow the Submission Guidelines, as well as our Copyright, Privacy, and Editorial Policies. By submitting work(s) to Atlas Poetica, you are representing to the journal, its editor and its publisher, that you hold the copyright to the work(s) or are the authorized agent, and you are granting Atlas Poetica rights in accordance with the published Copyright Policy and Submission Guidelines and that you hold Atlas Poetica, Keibooks, its publisher, editor(s), staff and agents harmless in all respects from any copyright infringement caused by your submission.
HOW TO SUBMIT TO ATLAS POETICA: You may submit up to forty tanka/kyoka/gogyoshi/sedoka/mondo/cherita at one time. We may publish as few as 1 or 2 poems or a larger number. We also consider sequences and sets of up to forty poems. Please query for longer works. Do not send us works that are still in progress.
Make your submission by sending your poems in to Submissions (at) AtlasPoetica.org in the body of an email. Do NOT send unsolicited attachments. Emails with attachments will be deleted. If you need clarification, or have a special situation you want to discuss, please feel free to write to the Editor at Editor@AtlasPoetica.org.
WHAT TO INCLUDE
Include this personal information with your email submission and send it to Submissions (at) AtlasPoetica.org
SUBJECT LINE: “Atlas Poetica submission – [Your Name]≤”
BODY OF EMAIL:
2. Email Address.
3. An alternative Email Address if you have one.
4. Short biographical sketch written in the third person.
Include your location: [City, State/Province] Country.
We reserve the right to edit bios for length, grammar, or any other reason. We may decline to publish biographies due to space limitations.
5. Age—check this box IF YOU ARE UNDER 16: [ ]—Younger than 16.
6. Submission: 1 to 40 poems, including location information.
NOTE: You must be 16 or older to submit anything to our journal. If you are under 16, EXIT NOW!
Feel free to copy and paste the above list to your email, for convenience’s sake, then send it in an email to the SUBMISSIONS email address. Add your poetry submission after your personal information WITHIN THE BODY OF THE EMAIL.
We do not discriminate on the basis of race, color, ethnicity, national origin, creed, religion, political belief, gender, gender identity, sexual orientation, or disability. All material should be appropriate for an audience age 16 and up. We do not shy away from controversial subjects, but most political satires fail as poetry.
Original copyright © 2007–2009 by MET Press (Modern English Tanka Press). Used with permission. Changes copyright © Keibooks, 2010-2015.