(sub)mission


1

Poetic Faith states that "where meaning is freed, it is at risk of loosing the parameters of dogma." We look to poets as agents of a quiet revolution, whereby language "does not so much point to a particular signified event or thing, it rather blooms with significant light that washes the whole landscape."

Today, the crucial epiphanies of poets too often fall short of true communication, and not for lack of skill or apperception on a poet or reader's part, but because the spaces in which such language readily appears are so easily compromised.* Our primary goal as a publisher is to liberate works of poetry by prayerful attendance to new and traditional lexical ecosystems (i.e. spaces online and in print).

We believe that the entire publishing process comes to bear on a reader's experience. Submissions, for one, are correspondences in which poetry transpires; we respond personally—with thought and feeling—to all inquiries. In light of this and the above, we ask that you take great care in choosing to us send work for consideration.

2

While we can tell the difference between a collection of poems and a novel, such distinctions do not keep us from reading all written matter as poetry, nor does this keep us from considering works of prose (and more) for publication. “What is poetry?” asks David Mutschlecner. “It is a grace of bewilderment where subjective and objective calls become a sometime cacophony. What do we see and hear? The answer becomes a complex of awe-full contradictions where object logic fails us.”

The second question, simple as it may be, is our polestar as readers; we try very hard to see and hear all written matter. We publish “poetry” insomuch as it proffers the opportunity to witness (experience) the living body of the word.

Beginning in 2018, all writings selected for publication online will be specially paired with a previously unpublished photograph, as determined by The Lune's photography editor, Ace Gallagher. We are hopeful that this reverse-ekphrasis will serve the unique inscape of poem and photograph alike, further widening the eyes and filling the ears of all readers.

3

The Lune publishes single- and multiple-author texts: selections, collections, translations, collaborations: anything interconnective. We confirm receipt of submitted materials within a week; final decisions can take a number of months. While we do not discourage simultaneous submissions, we appreciate vigilant correspondence concerning work accepted for publication elsewhere.

Compensation for work published in print varies by title, taking the form of contributor and review copies and/or a standard royalties contract. We do not currently compensate authors for work published online, but this is one of our foremost goals, so keep in touch as time goes on.


Online

Send your most powerful language in a document (PDF only) not exceeding five pages, and include an informal query/statement in the body of your email. If the given work has audio and/or visual components, please speak to this before sharing related files.

In Print

We do not accept unsolicited manuscripts for print consideration. That being said, when submitting work for online consideration, feel free to tell us if (and how) the given work is part of something bigger—we are always interested.


Email: joe (at) poetsonearth (dot) com

 

* This statement deserves a larger discussion than this page is designed to accommodate. Nevertheless, it expresses a conviction rooted in our experience (and interrogation) of contemporary poetry. We do not abide any academic distinction between poetry and "everyday" language; poetry is made up of the language we all use and share. Effort is required to discover meaning in poetry—in anything—but a poem enjoyed by scholars is no more meaningful than a poem enjoyed by toddlers. The question seems to be one of attention, and to pit poets against the general public is not only stupid, but misleading, for poets are people and people are poets. If poetry is to be found on the page, what does the page look like, and where is it situated? What are the commercial suggestions and expectations? These are questions that publishers and, less formally, all who share poetry are perhaps too quick to answer and/or dismiss. What sacrifices, if any, do you make in an effort to communicate? What do you expect to happen, as a result? Do you expect communion? Is it working? Feel free to use the above email to engage us over these and other questions of poetics.


Page last updated: 01/15/2018