Black Sun Lit (generally) reads submissions year-round, considers only previously unpublished work, and allows simultaneous submissions in the good faith that the writer promptly notifies us if his or her work has been accepted elsewhere. Multiple submissions are also welcome, though we ask that these be limited to two prose pieces (up to 5,000 words each, submitted separately), five poems (in one file, clearly indicating the beginning of each poem), or two essays (up to 5,000 words each, submitted separately). We are also open to translations, interviews, and/or works of drama, and enjoy debate on any artistic endeavor as it relates to our mission statement.

We request all writers wait until they’ve heard back from us before sending more work (we aim to reply within three months). For past contributors, please wait at least one year (online) or one issue (print) from when your work last appeared before submitting to us again (unless otherwise solicited). If withdrawing only a part of a submission, e.g. a poem, we ask that writers add a note to their submission via Submittable—partial withdrawal notifications delivered by email are likely to get lost in our inbox. Lastly, as of May 20, 2016, we are no longer accepting unsolicited book manuscripts, which include chapbooks, novellas, full-length novels, collections of short stories, books of verse, etc.

Send queries to: editors [at] blacksunlit [dot] com

Ends on October 15, 2017
reflection as an image of loss

For Aristotle, art was the faithful imitation of nature, in which beauty could be realized. For Wilde, life was an imitation of art, which operated like a veil and no longer a mirror. Though diametrically opposed in appearance, both claims have in common a consequence of art and perception of reality—that the world is felt as an imperfection, and art an impossibility. Since the symbolists, art and lived experience have become homogenous in their shared conditions of perpetual transformation and, thus, deception. “We possess of reality,” writes Ortega y Gasset, “nothing but the ideas we have succeeded in forming about it.” Put another way, existence is also what we dismantle from it; what we embellish or neglect when presenting ourselves to others.

For this issue of Vestiges, we are looking for Plato’s truth thrice removed, Pater’s sense of facts and Kermode’s sense of an ending: words that deal in lies just as the world contracts ideals, expressions made inherently false by that which they attempt to falsify, narratives that reclaim literature from the diegetic, and the artistic rendering of images that are not. Through this emphasis on the mimetic process and residual loss, we are especially seeking creative treatments of omission rather than participation; the unattainable instead of the absolute; the visibility of depth and the corruption of surface; the prominence of style and its aberration of the actual; the paratactic in place of progression; the procedure of thought, not its end result.

Submissions will remain open until October 15. To be considered for the issue, submit either one piece of unpublished prose (not exceeding 5,000 words), up to five pieces of poetry (in one document, indicating the start of each piece), or one essay (not exceeding 5,000 words).

Thank you for allowing us to review your work. We look forward to reading.
We are open to any form. We like writers who bear similarity to and/or are influenced by authors like Samuel Beckett, Georges Bataille, Marguerite Duras, Louis-Ferdinand Céline, Yukio Mishima, Clarice Lispector, Osamu Dazai, Hélène Cixous, and Jean Genet. We are not particularly fond of genre fiction, narratives driven by references to popular culture, or suburban realism.
We are interested in aesthetic infinity. Some examples of the poetic we admire include Ghérasim Luca, Harry Crosby, Stéphane Mallarmé, Gottfried Benn, William Carlos Williams, Henri Michaux, and Jules Laforgue. Work overtly concerned with structure may not be taken seriously.
We are looking for theoretical essays that cover marginalized writers, philosophers, thinkers, and/or theorists who have never been under serious study. We do not want book reviews, personal essays, or the politically saturated.
We welcome submissions of translated fiction, nonfiction, poetry, and drama that both pay respect to Black Sun's influences and give expression to the press's aesthetic objectives. Submissions should include the original work and, if required, permission from the author or the author's original publisher/copyright holder to publish the translation online and/or in print.
Please use this form to submit interviews, original works of drama or artwork.