1. In all cases the work we covet will feel like it was done with intensity and commitment, regardless of style.
  2. Simultaneous submissions are fine, but no previously published work.
  3. We maintain a particular though non-exclusive commitment to poetry of the Pacific Region, while sea-levels still permit.
  4. All texts are published under a CC BY-NC 4.0 Creative Commons license.
  5. Read the guidelines for each particular segment below. We’re mostly pretty relaxed.


  1. Our print journal is published (usually) once a year around August.
  2. Entries are usually taken until June 1st.
  3. We try to have a different guest editor every time for variety.
  4. Please send 5-10 pages of poetry.
  5. We prefer to publish more work by a smaller number of poets rather than lots of single poems.
  6. There is no monetary payment but we provide contributor copies.

Taking entries for Issue 14 until 30 November 2023, guest edited by Niamh Hollis-Locke, publishing in March 2024.


  1. Our online segment releases work (usually) every month, and accepts submissions year-round.
  2. We are especially interested in expansive and large-scale works such as: long poems, sequences, poetic research projects, dossiers, investigations, polemics, manifestos, ars poeticæ.
  3. Poems submitted to Minarets that we value but are unable to fit into our modest print journal may be given the opportunity to appear online instead.

ANNEXE is temporarily closed while we seek a new editorial custodian.


  1. Our experimental book response series accepts entries for online publication year-round.
  2. We want trip reports and strange autopsies, not reviews: here are some examples …
  3. Examinations of new poetry from the Pacific Region are especially welcome.

We’d particularly love responses to the titles below. We’ll help you get a copy if you’re keen:


  1. Compound Press maintains a Soundcloud.
  2. Contributors to Minarets and ANNEXE may be invited to record their poems.
  3. We also accept submissions of recorded poetry year-round.
  4. Poets are encouraged to augment their recordings with other sounds and/or production techniques.