1. In all cases the work we covet will feel like it was done with intensity and commitment.
  2. We maintain a particular though non-exclusive commitment to poetry of the Pacific Region, while sea-levels still permit.
  3. All texts are published under a CC BY-NC 4.0 Creative Commons license.
  4. Send all submissions to minarets [at] compoundpress [dot] org
  5. Please include which segment you are submitting to in the subject of your email.
  6. We don't like MS Word docs, and would prefer that you save in either .RTF or .PDF

Minarets (read)

  1. Our print journal is published (usually) once a year around August.
  2. Submissions are taken until (usually) May 1st.
  3. We try to have a different guest editor every time for variety.
  4. Send up to 5 poems in 1 attachment totalling no more than 10 pages with "Minarets" in the subject line.

ANNEXE (read)

  1. Our online segment releases work (usually) every month, and accepts submissions year-round.
  2. We are especially interested in 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.
  4. Tell us about something crazy with "ANNEXE" in the subject line.

Apocrypha (read)

  1. Essays, reviews, autopsies, and other strange non-fictions are accepted and published online year-round.
  2. Examinations of new poetry from the Pacific Region are especially welcome.
  3. We favour field reports that strive for vitality over any watertight academic formality.
  4. No uncritical puff-pieces or sheer marketing exercises.
  5. Shine a light on a dark corner with "Apocrypha" in the subject line.
  6. We'd particularly love responses to the titles below. We'll help you get a copy if you're keen:
    Night As Day (VUP 2019) by Nikki-Lee Birdsey
    The Intaglio Poems (Hesterglock 2017) by Iain Britton
    Click here for what we do (Vagabond 2018) by Pam Brown
    Listening In (OUP 2019) by Lynley Edmeades
    Where Only the Sky had Hung Before (Vagabond 2019) by Toby Fitch
    The Farewell Tourist (OUP 2018) by Alison Glenny
    Empirical (Giramondo 2019) by Lisa Gorton
    Archival-Poetics (Vagabond 2019) by Natalie Harkin
    Subtraction (Vagabond 2018) by Fiona Hile
    Birth Plan (Vagabond 2019) by LK Holt
    Moth Hour (AUP 2019) by Anne Kennedy
    The Hostage (Subbed In 2019) by Šime Knežević
    Crow College (Giramondo 2019) by Emma Lew
    Lost Lake (Vagabond 2018) by Bella Li
    Vital Possessions (Ethos 2018) by Marc Nair
    parsetreeforestfire (Ethos 2019) by Hamid Roslan
    ransack (VUP 2019) by essa may ranapiri
    The Naming (Subbed In 2019) Aisya Shah Idil
    GAZE BACK (Ethos 2018) by Marylyn Tan
    Poūkahangatus (VUP 2018) by Tayi Tibble
    Lay Studies (VUP 2019) by Steven Toussaint
    Over There a Mountain (Mākaro 2018) by Elizabeth Welsh
    wheeze (Subbed In 2019) by Marcus Whale
    Because a Woman's Heart is Like a Needle at the Bottom of the Ocean (AUP 2019) by Sugar Magnolia Wilson
    Furthest Ecology (Colorado 2019) by Adam Fagin
    Poetry Against All (Tarpaulin Sky 2020) by Johannes Göransson
    The Book of Baruch by the Gnostic Justin (Oxford 2019) by Geoffrey Hill
    Toxicon and Arachne (Nightboat 2020) by Joyelle McSweeney
    The Shore (Wave 2020) by Chris Nealon
    The Book of the Dead (WVUP 2018) by Muriel Rukeyser
    Doomstead Days (Nightboat 2019) by Brian Teare
  7. If you would like your book reviewed, please post us a copy and we'll find a reviewer:
    Compound Press
    5c 55-57 High St
    Auckland, 1010
    New Zealand

Soundcloud (listen)

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