Wednesday, July 8, 2009

ATPO 3 : Twitterati, or Microblogging Tanka Poets

ATLAS POETICA 4 - Autumn, 2009

Twitterati, or Microblogging Tanka Poets

For the past year and a half, media descriptions of the opportunity to post updates such as, "Got up, made coffee, didn't get dressed," failed to illuminate why any sane person might want to make use of a microblogging service like Twitter. I dismissed it as yet another techno-toy of GenXers (or are we onto GenYers now?). I was quite surprised to stumble over a treasure trove of tanka within Twitter's archives.

People are tweeting tanka (and haiku and micropoetry) in great numbers on Twitter. While much of it is exactly what you would expect of poetry posted to a social media site, a surprising amount is good. Further, because each poet has 'followers' who often 'retweet' (repost) items they like, a good poem will be seen far beyond the poet's personal circle. As a result, each tanka poet has a readership larger than many tanka journals.

The thing that strikes me most about these poets is how they use tanka not as literature, but as communication. They talk to friends and strangers online and use tanka to illustrate something they have seen or experienced. They often accompany their tanka with images, links, and other items that provide context and amplify their conversation. Because their primary goal is to express themselves as effectively as possible, they have written eloquent, natural language poetry. That they have created literature is incidental; none of these poets had ever submitted tanka for publication in the print media and they were startled when I suggested that they should.

Thus, although Atlas Poetica normally seeks first world English-language rights for the tanka we publish, I am deliberately waiving that requirement in order to republish a number of fine 'Twitterati'—poets who have previously published tanka on Twitter and its ancillary services.

It is with great pleasure that I introduce you to Sean Greenlaw, Dirk Johnson, Marin Paul, Kris Lindbeck, and Alex von Vaupel. Sean Greenlaw, a mere stripling at only twenty-one, has already demonstrated a grasp of tanka that exceeds many poets twice his age and experience. Kris Lindbeck has turned her tanka eye on her home in Florida and rendered it as exotic as it is ordinary, while Marin Paul successfully blends classical sites with modern tanka in a voice that is uniquely her own. Dirk Johnson, a Buddhist, brings a quiet masculinity to the depictions of the redwood forests near his home in California while Alex von Vaupel's tanka are way stations in his travels between two countries.
If you have a Twitter account, I recommend you follow these fine poets.


M. Kei
Editor, Atlas Poetica
kujakupoet on Twitter

Taz and Yenisey Rivers, Siberia, Russia. Ice jams caused the Taz (left) and Yenisey (right) rivers to overflow their banks. Normally the rivers would appear as thin black lines. In this false color image, land is orange and sage, water is black, and clouds are white and pink.
Cover Image courtesy of Visible Earth by NASA .

Twitterati, or Microblogging Tanka Poets, M. Kei 7

Tanka in Sets and Sequences
Remembering My Father, Alexis Rotella 8
You Belong to Me, M. L. Harvey 9
Kyoko, Patricia Prime 10
Peregian, Mary Mageau 10
diary letter, stanley pelter 11
Minimalist Family Life, Sanford Goldstein 12
L'Aquila, Alexis Rotella 14
The Snowbirds Are Back! Bobbette A. Mason 15
Nine Car Pile Up, M. Kei 16
Mother's Day, Bobbette A. Mason 17
Stone Circles, Labrador, Claudia Coutu Radmore 18
One Morning in February, Bobbette A. Mason 19
Relic, Dru Philippou 20
Chinese Haircut, Bob Lucky 20
Bill, Abigail Greene 21
Society Archipelago, Cynthia Rowe 22
White Wind, Andrea Grillo 23
travelogue, John Samuel Tieman 23
North of Superior, Guy Simser 24
Andrew's Place, Abigail Greene 25
Crack of Dawn, Dru Philippou 26
Winter Rains, Gerry Jacobson 27
Allentown, Marylin Hazelton 27
Hunkies, Alexis Rotella 28
Bach at Piha, Patricia Prime 28
His Old Lake, Mike Montreuil 29
Moon, Marje A. Dyck 30
burnt images, Jo McInerney 31
Everybody Dies, Alexis Rotella 32
To Boldly Go, susan delphine
delaney 33
Confections, Tracy Royce 33
South of One Border or Another,
James Tipton 34
Clarity, Marje A. Dyck 35
Hatteras Island, Abigail Greene 35

Topical Tanka
Winter 36
Flowers and Gardens 37
Labor Day 38
Friends & Family 40

Individual Tanka 41

Book Reviews
Narrow Road to the Interior, by Kimiko
Hahn, reviewed by Brian Zimmer 60

Announcements 65

Biographies 69

Index 73

ATPO 3: You Can't Take a Bus Up a Cliff (reprint)



You Can't Take a Bus Up a Cliff

Atlas Poetica : A Journal of Poetry of Place was founded to provide a home for tanka that could not easily be published in the mainstream journals. It publishes long, including extremely long sequences, tanka prose, multiple author works, experimental works, and content that demands more of the reader than the comfortable sentimentality the characterizes much of modern tanka in English.

Through the medium of place the poets in the current issue tackle difficult topics, such as war, crime, racism, xenophobia, anti-Semitism, poverty, environmentalism, adoption, and more. These are topics that make up only a small portion of the published ouvre of tanka in English, yet they are vitality important, bringing us some of the most wrenching and demanding works of literature in the canon.

In describing his military training during WWII when Americans are fighting to end Nazism, Sanford Goldstein is still frightened that his comrades in arms might "shoot this “dirty-jew” me." Ella Wagemakers presents the other side of Amsterdam's famed liberalism when she tells her children "the women are selling / beachwear and lingerie." Kirsty Karkow promises a friend afraid of HIV "to go with her / to the inner city clinic."

Yet amidst the terrors of the real world, there are pleasures and sustenance for the soul. John Daleiden celebrates "our burden lightened / my sisters and brothers" in honor of Junteenth, the anniversary of the emancipation of the slaves in the United States. Vasile Moldavan takes heart from the song of a cricket and begs his minister, "give up the vespers service [. . .] to listen to this cricket song." For Amelia Fielden "ten dolphins" become a nursery song right before her eyes.

The poets of Atlas Poetica call things by their real names. They write about real places, real events, real issues, real people. The poetic imagination is unleashed by the challenge of telling the unnoticed truth. Stereotypes and conventions, knee jerk reactions and travel guide advertisements do not do justice to the complexity of our lives or the places in which we live. By grappling with reality poets are forced to dig deep into themselves. They must bear witness to all that they have seen—for good or ill. The 'controlled ambiguity' that is a hallmark of tanka includes moral ambiguity. They reach deep into the human soul and pull out something of lasting value, something that inhabits the mysterious wilderness deep inside our hearts.

You cannot take a bus to scale the cliffs of history. You must pull yourself up with your own hands, bark your knees on the rocks, and take the risk of falling. The poets of Atlas Poetica have abandoned comfort in the quest for truth, and what they have discovered is wondrous, frightening, and inspiring.


M. Kei
Editor, Atlas Poetica

Gosses Bluff. 142 millions years ago an asteroid or comet slammed into what is now the Missionary Plains in Australia's Northern Territory, forming a crater 24 km in diameter and 5 km deep.
Cover Image courtesy of USGS National Center for EROS and NASA Landsat Project Science Office


You Can't Take a Bus Up a Cliff,
M. Kei 7

Tanka in Sets and Sequences
Old Memories in the Valley of the Sun,
John Daleiden 8
On the Beach, Marje A. Dyck 9
Sky Walker, Mary Mageau 9
Understanding the Patient,
Kirsty Karkow 10
The Black Straw Hat, Patricia Prime 11
generations, Owen Bullock 11
Vecernie / Vespers, Vasile Moldovan 12
war rubble, stanley pelter 13
Kinshasa, Democratic Republic of the
Congo, Paul Mercken 14
Midday Lunch, Michele L. Harvey 14
Seamen's Bethel, Jeffrey Woodward 15
Pre-Holocaust: Growing Up in
Cleveland, Sanford Goldstein 16
Along the Way, Bob Lucky 18
I Follow Your Course, Alexej von
Glasenapp 19
Winter in de Gambia / Winter in
Gambia, Paul Mercken 19
Middle Lake, Sasakatchewan, Angela
Leuck 20
Lost and Found, Terra Martin 21
Tor House, Jeffrey Woodward 22
Death in the Afternoon, Bob Lucky. 23
Imagining the Space, Owen Bullock 23
Gippsland waters, Jo McInerney 24
Lime Tree, Magdalena Dale 25
Legs of Invisible Desire, M. Kei 25
In de Oostertuin genietend van
chrysanten / Enjoying
Chrysanthemums in the Eastern
Garden, Paul Mercken 26
Entrance and Exit, Terra Martin 27
Rewinding Fort William,
Guy Simser 28
Short Flashbacks of a Long-Ago Trip to
The Philippines, Ella
Wagemakers 29
On a Beach at Polillo Island, Ella
Wagemakers 29
remembering Do's and Dont's,
stanley pelter 30
surviving the Shadow,
stanley pelter 31

Topical Tanka
War and Peace 32
Mourning 34
Urban 36
Summer 38

Individual Tanka 39

Book Reviews
Cicada Forest, by Mariko Kitakubo 59

Announcements 61

Biographies 70

Index 73

ATPO 2: The Autobiography of the World (reprint)



The Autobiography of the World

The first issue of Atlas Poetica : A Journal of Poetry of Place in Modern English Tanka, was met with great appreciation. The result is a truly international journal that looks at the natural and cultural places of the human heart, finding significance in a blade of grass and the footsteps of actual people in our collective myths. If tanka is the autobiography of the poet as Takuboku and Goldstein teach, then poetry of place is the autobiography of the world itself.

We were gratified to receive many sets and sequences for the first issue. Atlas Poetica’s format was deliberately designed to permit the publication of sequences that were too long to publish in other venues, and we continue to welcome sequences of up to forty tanka in length, but prefer to be queried regarding longer sequences. We also received various works that include prose in various forms, whether in the form of classical headnotes, annotations, or fully developed prose with tanka in the haibun tradition.

We think the form of prose with tanka will prove fertile, for this is one of the most ancient methods by which tanka was published: as diary entries, embedded in letters and composed in celebration of various occasions. We believe that tanka’s accessibility is directly related to the conversational way in which it was classically used, and that now more than ever, human beings need to speak to one another—not with the rants and shrills that are the usual public discourse, but with eloquence and grace.

By speaking about their experiences of place, the poets of Atlas Poetica have touched on many deeper issues: the value of the natural environment, the importance of our communities, the travails of the modern world, and the everlasting love of beauty that may be the only true definition of civilization. The appreciation of beauty is not a luxury and not a fascination with superficial features, but the ability to peer into the details of existence and find joy. Nowhere is this more important than when burdened with the devastations that humans wreak on each other and the environment.

Our first issue published content in twelve languages, and we welcome and encourage international and indigenous contributions to the ‘autobiography of the world.’ We continue to seek and encourage translations into additional languages and bilingual presentations of international tanka with the native and English versions as co-equals. We also welcome articles, book reviews and essays addressing various elements of poetry of place in tanka in English or bilingual editions, as well as announcements, resources, and book notes in any language (no English translation required).


M. Kei
Editor, Atlas Poetica

"Image courtesy of USGS National Center for EROS and NASA Landsat Project Science Office"

Issue Notes:



The Autobiography of the World, M. Kei 7

Tanka in Sets and Sequences 8

The Road of the Wagemakers Family, Ella Wagemakers 8

On Guam, Norla M. Antinoro 9

The Empire Chest of Drawers, Abigail Greene 10

Looking for a House, Ella Wagemakers 11

The Red Divide, M. Kei 12

Garden of Stone, Jim Doss 14

Singing Silence, James Rohrer 15

Taupiri Mountain, Patricia Prime 15

All Clear, Patrica Prime 16

Still No Rain, Amelia Fielden 16

Port Phillip fragments, Jo McInernery 17

Tree of Life, James Toupin 18

Another Spring, Marje A. Dyck 19

Along the California Coast, Deborah Kolodji 20

Elvis, Alexis Rotella 22

Tanka Triptych, Sanford Goldstein 23

Drugs, Hooch, and Mobile Phones, Paul Mercken 26

New York Matinee, Paul Mercken 26

Holbeck Hill, Liam Wilkinson 27

Something About This Light, Owen Bullock & André Surridge 28

Tirohanga, Patricia Prime & Catherine Mair 29

The Philippines, Robert Wilson 30

Doing Time, shanna baldwin moore 31

Libya, Denis M. Garrison 31

Topical Tanka 32

The Good Earth 32

Autumn 34

Individual Tanka 35

Announcements 56

19th Int'l Tanka Splendor Award 56

Take Five : Best Contemporary Tanka 57

First Int'l Erotica Tanka Contest 58

Way Back Home 58

Moonset 58

Cigarettes Butts and Lilacs 59

Slow Motion 59

International News & Resources 61

Biographies, Issues 1 & 2 65

Index 71

ATPO 1: Earth as Poetry (reprint)



Earth as Poetry

Welcome to the premiere edition of Atlas Poetica: A Journal of Poetry of Place in Modern English Tanka! New from Modern English Tanka Press, the Atlas strives to bring a new level of innovation, artistry, and appreciation to poetry of place in the tanka form.

A 'place' is not just any geographic place, but a place imbued with meaning. It is a combination of physical features (both natural and manmade) and significance perceived by humans and other creatures. Some places are grand and well-known while others are intimate, personal and experienced only by the poet. All of these special places are important because of the transformation of perception that they grant to the sensitive mind.

'Place' is therefore a locus of the natural and human worlds, the mediator between 'outer space' that contains all that the senses can perceive and 'inner space' which is the realm of the mind. It is the delicate zone through which all life moves. It forms a very thin veneer on the earth’s surface and is fragile, precious, and infinitely variable. It is the place of maps and mysteries, of exploration, discoveries, and disasters. It is the known world and the deep sea; it is the place of security, danger, and dreams.

It is the place where poetry is born and written, and it is the place we invoke when we chant the names of the world. It is an incantation that raises our souls to communion with something larger than ourselves, a place in which we are born, live, and die, our existence becoming part of that place and so immortal, just as that place becomes part of us and so mortal and perishable. Poetry is its natural voice, the song that sings through the ages when the place itself has vanished or been transformed beyond recognition. Poetry is the amber in which the places of the past are preserved.

The advent of space flight has erased boundaries and provided new ways to see our Earth, and so the United States Geological Survey (USGS) and NASA have teemed up to create an online image gallery entitled, "Our Earth as Art." It is from this gallery that our cover photo is taken. That image is not abstract art nor a marbled paper, but a picture of the Anti-Atlas Mountains in southern Morocco as seen by satellite. All future covers of Atlas Poetica will also be drawn from "Our Earth As Art," showcasing different places around the world.

With the launching of Atlas Poetica we invite all readers to see the places of the world through the eyes of poets and to find in poetry the maps that lead them to explore the multitude of meanings manifest in their own special places.


M. Kei
Editor, Atlas Poetica

"Image courtesy of USGS National Center for EROS and NASA Landsat Project Science Office"

Issue Notes:


7 Editorial, Earth as Poetry, M. Kei

64 A Brief Statement on Tanka Definitions, M. Kei

8-34 Tanka in Sets and Sequences

8 holy ground, Sanford Goldstein

12 Geriatric Tanka, Barbara A. Taylor

12 This Is the Path, Ella Wagemakers

13 Europe, Alexis Rotella

14 Joyous Lake, Gary LeBel

17 once upon a time, Jamila

17 Manhattans on the Mountain Top, Barbara A. Taylor

18 Ireland, Abigail Greene

19 Tanka Za Connie / Tanka for Connie, Žarko Milenić

20 Three in Autumn, Miriam Sagan

20 Fighting Cloud Women, Barbara A. Taylor

21 Islands in the Chesapeake, M. Kei

22 North of Superior, M. Kei

22 The First People, James Rohrer

23 the old pa, Bernard Gadd

24 The Morning Market, James Rohrer

24 In Ma-Tzu's Court, James Rohrer

25 Closing the Circle, Guy Simser

25 Back and Forth, Guy Simser

26 Winterside, Liam Wilkinson

27 Wien / Vienna, Franz Prietler

28 Dracula între mit şi realitate / Dracula between myth and reality, Magdalena Dale

29 Vechea Temniţă / The Old Prison, Vasile Moldovan

29 The Shape of the Cliff, Megan Arkenberg

30 Round Faces & Nesting Dolls, an’ya and Alexis Rotella

38 Topical Tanka

38 Spring

39 Book Shopping

40 Birds & Butterflies

41 Down to the Sea

43 Dinner & Drinks

44-64 Individual Tanka

65 Announcements

65 Book Note: Heron Sea

66 Obituary: Bernard Gadd

67 International News & Resources

67 Nederlands

67 Deutsch

67 Español

68 Română

68 Hrvatski

68 Magyar

68 Suomeksi

69 Svenska

69 Ελληνικά

70 Русский

71 Index

Submission Guidelines

Atlas Poetica Home

Atlas Poetica : A Journal of Poetry of Place in Modern English Tanka

These submission guidelines were revised on Sat, 06 Jun 2009 03:14:18 GMT

SEND ALL SUBMISSIONS TO: AtlasPoetica (at) gmail (dot) com

#5, Spring 2010 – Submit Nov 15, 2009 - Jan 31, 2010. Publishes March 15, 2010.
#6, Summer 2010 – Submit March 15 - May 31, 2010. Publishes July 15, 2010.
#7, Autumn 2010 – Submit July 15 - Oct. 31, 2010. Publishes Nov. 15, 2010.

Submissions do not close before the announced date. However, we always recommend submitting earlier rather than later. Since we respond promptly, this gives the poet a chance to take editorial feedback into consideration and resubmit. Submissions made before the reading window will be held and not responded to until the regular time. Submissions will be considered for the current issue only and not be held over for the following issue.

EDITORIAL POLICY Please read carefully.

Atlas Poetica [ISSN 1939-6465] is a literary journal published three times a year in an 8.5" x 11" perfect bound print version, e-book version, and online on the World Wide Web. It is dedicated to publishing and promoting fine tanka poetry of place (including tanka written in variant forms). Issues 1-4 are available from . Starting with 5, issues will be available from .


We are interested in both traditional and innovative verse of high quality and in all serious attempts to assimilate the best of the Japanese waka/tanka/kyoka genres into a continuously developing English short verse tradition.

Our touchstone is tanka, 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, sonnets, quatrains, prose, etc. Thus a Wilsonian sequence, a tanka sequence with a haiku as an envoy, a sequence in which sonnets alternate with tanka, or a haibun in which the verse portion is a tanka are some possible examples. We also accept one line, two line, three line, and other non-standard lineation in tanka.

We also accept 'visual 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 inch pages. We do not accept illustrated tanka. We do accept tanka in international alphabets; however, we may require your assistance in handling non-European fonts. Due to incompatibilities between computer systems, formatting does not always survive, therefore your submission should include both a plain text version and along with the specially formatted version. Intelligible submissions will be rejected. DO NOT SEND ATTACHMENTS unless requested. Even specially formatted submissions must be contained in the body of the email.

We accept multi-author works if the submitting author includes a statement of permission from the other author(s) designating him/her as their authorized agent with regard to the work. The publisher, editor, and other staff are obliged only to notify the designated agent. It is the agent's responsibility to convey information to the poet(s) s/he represents. 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 in the laws of the United States and the treaties regarding copyright to which it is party. When any doubt arises, our publisher takes a strict view of copyright matters and will not publish any questionable work.

We will NOT publish single poems which are not tanka, waka, kyoka, or one of their recognized variants (cinquains, etc). We accept all forms from microtanka to sanjuichi to SLSLL to free style tanka. Do NOT send renga/renku that would be welcome by mainstream haiku magazines; we are seeking new ground in tanka sets and sequences.

We are not a mainstream tanka journal. Our reason for existence is tanka poetry of place. Therefore, place information must accompany every poem submitted. If no place information is supplied, the author's place of residence will be assumed to be the place for each poem accepted. We will publish short notes on a space available basis; the author should consider turning long notes into a work of tanka prose. Poems which are generic in location are not wanted; poems that evoke a strong sense of place, whether it be 'kitchen' or 'The Grand Canyon' are what we seek.

Atlas Poetica is a poetic atlas of the tanka world. Therefore, we are very open to work in other languages from poets around the world. We especially seek tanka which reflect the human and natural landscape and believe that through the specific details of place and event a universal insight can be gained. However, not all details will be grasped by all readers, so brief glosses should be supplied where necessary.

We do not normally publish poems that have been previously published. However, exceptions may be granted for poems previously published in a language other than English, or in a venue not regularly read by our audience. All such submissions must be accompanied by complete information regarding their previous publication. All exceptions are at the sole discretion of the editor.

Serious poetry and adult themes are appreciated. Doggerel and anything that is pornographic or in any way nasty, hateful, or bigoted will not be accepted. All such judgments will be made at the sole discretion of the editor.


Atlas Poetica welcomes previously unpublished tanka/waka/kyoka, either single poems or sets and sequences, single author or multi-author. We welcome international submissions, but require that poems written in languages other than English be accompanied by an English translation. In addition, we will NOT accept poems that are English translations only, the original 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 both author(s) and translator(s).

BOOK REVIEWS AND NOTES: Atlas Poetica cannot guarantee that we will review unsolicited books sent in for review; 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. Book reviewers will receive a biographical entry on the Contributors page. We publish "Book Notes" and announcements at our sole discretion. (Haiku-only announcements will not be published.) If you wish to submit a fully written Book Note (300 words maximum) along with a copy of the book, we will consider publishing it; no guarantees. No biographical entry is published with a Book Note. For both book reviews and notes/announcements, we will publish only those which have some relevance to the scope of Atlas Poetica, i. e., tanka poetry of place.

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 of place. Any length, up to chapter length, may be acceptable, with a target range of 500 - 5000 words. We are very sensitive to even the appearance of copyright infringement, so be certain that you have and provide any necessary permissions for works quoted in an article or essay. [USA copyright information] We may solicit articles and essays, but we are also glad to receive them after queries or even over the transom. We seek to promote the assimilation of the best of the Japanese waka/tanka/kyoka genres into a continuously developing English short verse tradition.

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, and that it in some way connect to tanka poetry of place. We are interested in items of various levels of expertise and scholarship and do not expect all items to be written at the same technical level.

We do NOT exclude good articles simply because they propose an idea with which we do not agree. We do NOT exclude good articles simply because the author is someone not in favor with us, with readers, or with the tanka community in general. 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 reasonably, and should not be, taken as Atlas Poetica's or Modern English Tanka Press' endorsement of the propositions and ideas contained therein. We publish, as we are able, multiple viewpoints of important poetry of place tanka questions and issues.

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. You letter may be edited for grammar, spelling, or brevity.

NO GRAPHIC ART: Atlas Poetica does not publish unsolicited graphics of any kind.

NO SIMULTANEOUS SUBMISSIONS: Please do not submit anything on offer anywhere else. Generally speaking, you will have an initial response within one month, and will know if your work is not being accepted at that time. You will receive final notice when the selection for the issue is complete. 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.

NOT PREVIOUSLY PUBLISHED: We primarily seek to publish fine tanka/waka/kyoka that have not been previously published. Each poet is personally responsible for noting in the submission any previous publication of any submitted work. We, of course, reserve the discretion to select previously published work of extraordinary merit from time to time. However, our preference is always for previously unseen work. By 'previously published', we mean work available in a public forum, such as works posted to blogs and websites, including those workshops which make their archives available to the public. Materials shared in closed sessions, such as email workshops whose archives can only be accessed by members, are considered unpublished.

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. If, for any reason, you cannot cope with rejection, better not to make submissions. We use only a portion of the submissions that we receive. There are plenty of other websites which are unedited and where you can post your poems with no editorial interference if that is what you seek. 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. Not all decisions are made at the same time. The editor has a full time job and a family, so works on the journal as time is available. 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.

HOW TO SUBMIT FOR ATLAS POETICA: You may submit up to forty tanka/waka/kyoka at one time. We may publish as few as 1 or 2 poems or a larger number. Please do NOT send us works that are still in progress. We will also consider sequences and sets of up to forty poems. We will consider multi-author works, provided all other criteria have been met, plus the submitting author(s) certifies that they are authorized to act as the agent for the other authors. Please clearly indicate which part is authored by which person. Please send us polished works, error-free. Make your submission by sending your poems in to Atlas Poetica in the body of an email. Do NOT send any 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 AtlasPoetica (at) gmail (dot) com.

RIGHTS SOUGHT: We seek first world English rights, including print, digital, and online versions, plus the right to reprint the work in our compilations and archives. Poems published in another language are eligible if accompanied by English translation. 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 with us 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 previously published by Atlas Poetica is reprinted elsewhere, we expect a credit to be given, e.g. “First published in Atlas Poetica [#], [year].” 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 was published, but it is not a requirement for publication.

WHAT TO SUBMIT: We need the following information: 1. Your name as you wish it to appear in the journal. 2. Your email address. 3. An alternative email if you have one. 4. Biographical sketch (100words max., written in the third person), including your location: your city, State/Province, and country (the minimum information acceptable is your country; the rest is optional). We reserve the right to edit biographies for length, grammar, or any other reason. 5. If you are younger than 16 years of age, tell us so that we may comply with the U.S.A. Children’s Online Privacy Protection Act (the COPPA applies to children under 13; our minimum age limit is 16 as a matter of editorial policy). 6. The submission itself, including location information for each poem.

NOTE: You must be 16 or older to submit anything to our journal. If you are under 16, EXIT NOW !

EMAIL POLICY: We will not include any email address with your Contributor Note unless you specifically request it. If you want your email address to be published online and in the print and e-book editions, please say so in your submission email. No live links will be included in any case.

THERE IS NO PAYMENT FOR CONTRIBUTORS: No payment will be made. No contributor copies are furnished free. There will be no payment of any kind for accepted submissions for any issue of Atlas Poetica.

If you choose to submit any work(s) for publication in Atlas Poetica, please read and familiarize yourself with these Submission Guidelines, as well as our Copyright, Privacy, and Editorial Policies. By submitting any work(s) to Atlas Poetica, you are representing that you have the copyright to the work(s) or are the authorized agent, and you are permitting Atlas Poetica copyrights in accordance with the published Copyright Policy and Submission Guidelines of Atlas Poetica, and that you hold Atlas Poetica, its publisher, editor(s) and agents harmless in all respects from any copyright infringement caused by your submission.

Include this personal information with your email submission and send it to: AtlasPoetica (at) gmail (dot) com.

SUBJECT LINE: "Atlas Poetica submission - [Your Name]"


1. Name.
2. Email Address.
3. An alternative Email Address if you have one.
4. Bio sketch (75 words max.)
Include your residential location: [City, State/Province] Country.
We reserve the right to edit bios for length, grammar, or any other reason.
5. Age—check this box IF YOU ARE UNDER 16: [ ]—Younger than 16.
6. Submission: 1 to 40 poems, including location information.

Feel free to copy and paste the above list to your email, for convenience's sake. Just highlight the list, then hit EDIT and COPY; then send in an email to the SUBMISSIONS email address and, in the body of your email, hit EDIT and PASTE, and you will have the list to fill in. Add your poetry submission after your personal information WITHIN THE BODY OF THE EMAIL.

Copyright © 2009- by Keibooks; previous copyright: © 2007–2009 by MET Press (Modern English Tanka Press)