Miss You, SASE: On Postal Submissions

February 25, 2014 | 4 books mentioned 11 7 min read

The Whippany River flooded my hometown post office in August 2011. Hurricane Sandy would cause far more damage statewide, but Irene pushed the river across Route 10 and through the front door. The post office has never reopened. Whippany now receives irregular delivery from the Morristown branch. Inquires from our congressman, Rodney P. Frelinghuysen, have received circuitous responses from the Postal Service.

I drive past the abandoned post office when I visit my parents, and can’t help but get nostalgic. The mail was a source of surprise during my youth: issues of Amazing Spider Man, Uncanny X-Men, and The Sporting News, letters from my French pen pal, or postcards from my sister in college. I would shoot baskets in my driveway so I could catch afternoon delivery. The low hum of the mail truck’s engine announced its arrival, and while it looped toward my mailbox, I envied the lives of those mail carriers. They delivered people’s hopes and disappointments, bound in rubber bands. There was a quiet dignity to the legion of men and women who delivered mail. It seemed like the entire town counted on this ritual.

That innocent perception has been tempered by our current reality. The United States Postal Service lost $334 million in the final quarter of 2013, for a total loss of $5 billion for the year. First-class mail revenue has plummeted. Postmaster General Patrick Donahoe has pushed to end Saturday mail delivery as a cost-saving measure, but Congress has blocked the attempt. Postal Service retail outlets are being opened in select Staples stores, and will be staffed by store employees, not members of the American Postal Workers Union.

In 2014, products are shipped to us. We are recipients of mail rather than creators of it. Bills are paid online. Invitations are sent on Facebook. Letters, handwritten or typed, are a rarity. We have chosen speed and convenience, and have redefined what it means to have a personal connection with another human.

The current literary magazines that only accept postal submissions are some of the finest “little magazines” in the country: The Gettysburg Review, Conjunctions, Epoch, The Southern Review, Zoetrope, The Yale Review, The Sewanee Review, Denver Quarterly, The Hudson Review, Alaska Quarterly Review, Antioch Review, The Paris Review, Beloit Fiction Journal, River Styx, ZYZZYVA, and Image. Their reasons are both practical and philosophical. The Gettysburg Review’s explanation is tongue-in-cheek: “We’re not an e-journal or e-zine…Neither are we neo-Luddites. Several of us actually enjoy using computers; however, we, like many of you, understand that the computer is not necessarily a piece of labor-saving technology. E-submission, while possibly a convenience for writers, is definitely an inconvenience for us.”

Electronic submissions have evolved from direct e-mails to editors, to the Council of Literary Magazine and Presses’ Submission Manager, to the now industry-standard Submittable system. Since electronic submissions have become the norm, editors have complained about writers who submit new work immediately after a rejection is received, or, even worse, rescind a submission only to revise and resubmit the work. Electronic submissions have put the writer in the editor’s office, like some cinematic wordsmith tramping into Random House with a manuscript under his arm. I would never think of calling the editor of the Southwest Review to check on the status of my submission, but e-mailing that editor somehow feels less intrusive. It shouldn’t, and unfortunately results in some writers eschewing professional decorum. Until an unsolicited work is accepted for publication, there should be a comfortable distance between writer and editor.

At Electric Literature’s Recommended Reading page, Agni editor Sven Birkets recalls the “labor-intensive era before e-submissions, [when] going through the stack that was several days’ accumulation had certain assembly-line aspects: open, extract, examine to gauge general caliber, sort into one of several stacks. Return, return with note, look closer, pass to trusted readers.” While putting together the first issue of his editorship, Birkets received a snail mail submission from David Foster Wallace. The story was titled “The Soul is Not a Smithy.” This was 2003; Wallace could have placed the story anywhere. Birkets was excited: “I took myself away from the desk. I found a private place with decent light and no phone; I did whatever one does to narrow the beam of attention down from wide-angle receptivity to full-on focus.” Granted, Birkets knew Wallace, but the story was a surprise, and Wallace’s work and self were made new by the spontaneity of that silent submission.

cover T.C. Boyle has called literary magazines the “meat and potatoes” of American literature. His first collection, Descent of Man, was published in 1979, and although it included stories from “the slicks” — The Atlantic Monthly, Harper’s, Esquire, Penthouse — it also included stories that originally appeared in The Paris Review, Epoch, TriQuarterly, The Transatlantic Review, Fiction, Quest 77, Quest 78 and the South Dakota Review. Those publications were not merely means toward the end of a book; they were small victories. As Ben Percy writes, even after acceptances have “become the rule rather than the exception,” he feels like a “lonely madman crumpling messages into bottles and sending them off into a midnight sea.” The responses from editors make for a distant but real community. Nowadays writers like myself have connected on social media with other writers and editors, and while those connections are often meaningful and sometimes enlightening, writers remain solitary artists. As Percy notes, we are all “hidden away, only occasionally showing our faces, but engaged in an intimate, sacred togetherness made possible by journals whose pages serve as ink-stained harbors.”

My favorite bookstore is still D.J. Ernst Books in Selinsgrove, Pennsylvania. The bookseller has an almost cult following since 1975 among undergraduate creative writing majors at Susquehanna University. I bought armfuls of books, but mostly talked with “Homer” about fishing for bass in Penns Creek, running, kayaking, and God. Like other great independent bookstores, it was a place that made me believe imagination mattered.

cover I bought the 1992 edition of Best American Short Stories from him. I’d loved Robert Stone’s Dog Soldiers, and he edited that year’s selections. It’s an incredible collection: “Days of Heaven” by Rick Bass, “A Good Scent from a Strange Mountain” by Robert Olen Butler, “Emergency” by Denis Johnson, “The Pugilist at Rest” by Thom Jones, “Carried Away” by Alice Munro, and my favorite of the lineup, “Forever Overhead” by David Foster Wallace. I had read novels and collections from those individual writers, but I liked seeing them collected in an original form, with the magazines of original publication listed below. It was a lesson: American literary culture is built through literary magazines.

I flipped to the back of the book: “Editorial Addresses of American and Canadian Magazines Publishing Short Stories.” This was 2000, so much of the information was outdated, but there were mailing addresses and names of editors. Puerto del Sol: PO Box 3E, Department of English, New Mexico State University, Las Cruces, NM 88003. Edited by Kevin McIlvoy and Antonya Nelson. Virginia Quarterly Review: One West Range, Charlottesville, VA 22903. Edited by Staige D. Blackford. I would dip back between the stories and their original publications to find which magazines best fit my style. I say style and not substance: I was very much a young writer, and it would take a steady dose of sentence-to-sentence examinations of writers like James Alan McPherson, Joy Williams, and William Gass in order to understand fiction.

My fiction professor had a “Publish or Paris” cartoon on his office door, and the pun wasn’t lost on me. In order to be a writer, I also had to be a submitter. I printed some of my stories and followed the magazine’s guidelines. I typed and signed cover letters. I prepared SASEs, which felt like a strangely formal and unnecessary action to receive a response: folding an envelope and stuffing it into another envelope is the literary equivalent of matryoshka dolls. I soon understood that literary magazine editors and staff had to deal with cataloging, reading, and responding to thousands of submissions, as well as pleading for university or donor funding. They didn’t have the time or money to buy and provide stamps for responses.

I mailed stories to Cimarron Review, Artful Dodge, and Prairie Schooner. I thought about the submissions from time to time, but I was an undergraduate with more than enough distractions. The form rejections arrived on thick, cardboard stock cards, or on computer paper sliced into squares. There was the occasional “Thanks!” or a suggestion to subscribe. No meant no. There were no explanations. I needed to hear those cold, distant rejections. My writing mentors were constructive but caring: they would edit my stories down to the single sentence worth saving, but they would do so with guidance and interest. Editors owed me nothing: no words of encouragement, no line edits, and not a swift response. In order to impress them, I had to write better fiction. I knew that writing was a slow process on my end. I scribbled story and character ideas on napkins, in the margins of junk mail and newspapers, or in a series of notebooks. Those ideas became handwritten drafts, which were typed, printed, set aside, and then revised on the printed page. I typed those revisions, and then repeated the process. Ideas come in a flash, but stories must be built. I am the son of a carpenter who almost became a priest: planning and ritual are the modes of our lives.

Back then, I had no idea what happened to my submissions when they left the post office. Did editors really read my stories? I had an intimate connection with my own drafting, writing, and revising, but my submitting life was wrecked with unknowns. Submittable is a wonderful resource, but I long for those days when I don’t know whether a story is “received” or “in progress.” The method of write, submit, and resubmit has its real artistic perils. At the National Post, poet Michael Lista thinks the contemporary literary culture “encourages, for its own survival, a writer’s worst attributes: vanity, assuredness, sophistry, mutual flattery, imprecision, inefficiency and an unselfconscious fluency that is the surest sign of a minor writer. The qualities that contribute to producing great work — skepticism, deliberation, patience — are not in the system’s interest.” The ease of submission has cultivated a lack of self-discernment. Simply because a story can be submitted does not mean it should.

I miss having my envelope of stories weighed and mailed. I miss the handling of paper, the process of submission. The great, unlikely gift of postal submissions was the building of patience and discipline. Now we can publish at any and every moment: status updates, tweets, posts. There are benefits to tearing down those fences between our words and the world, but there is worth to relative silence, to communication between a single sender and recipient.

This is how I satiate my nostalgia for the old rituals. I go through my typical motions of drafting and revising, until a story feels ready to submit. I find a few potential markets and list them in an Excel spreadsheet. Then I print the story, fold it, and leave it in an unsealed envelope, tucked in a desk drawer. Weeks later, I take that story from the envelope and read it with new eyes: the eyes of an editor, a discerning reader who does not owe me anything. Those weeks of gestation are an abbreviation of the response time to a postal submission, but they are metaphorically enough. Postal submissions taught writers that this vocation is not a sprint. Writing is a series of marathons separated by long respites, where we regain breath and build strength. It is time for writers to slow down again, so that our performance in the next race can be better, more meaningful, and if we are lucky, closer to the eternal, mysterious rewards of art.

Image credit: Unsplash/Mathyas Kurmann.

is a contributing editor for The Millions. He is the culture editor for Image Journal, and a contributor to the Catholic Herald (UK). He has written for Rolling Stone, GQ, The Paris Review, The Atlantic, Esquire, and the Kenyon Review. He is the author of Longing for an Absent God and Wild Belief. Follow him at @nickripatrazone and find more of his writing at nickripatrazone.com.


  1. So much to love in this essay!

    If only the world– literary and otherwise– would accept the idea that progress doesn’t mean complete and absolute replacement. This is as true of the post office as it is of the card catalog, the brick-and-mortar store, the book. Why can’t they work in parallel?

    Nor does it mean faster, faster, faster. Everything you say about paper vs. online speaks to that, and there’s no question how much better I knew my work using the typewriter. In many respects my laptop is still a typewriter for me– always print work out for revision, read aloud. Make more mistakes when I skip these steps.

    Enjoyed the SASE thing…have fondness for SASE postcards as well, and sometimes treat them as talismans in a playful kind of way.

    Beautiful lines: I am the son of a carpenter who almost became a priest: planning and ritual are the modes of our lives.

    More to say, but rushing for deadlines. Faster, faster, faster! Glad you took the time to write this.

  2. We here at Alimentum also only accept snail mail submissions. Our editors like real paper…you read a work so much differently on paper than on a screen. Feels realer. I also have a fond regard for the Post Office in general. Post offices and libraries. My two favorite places.

  3. Actually, I do not miss SASE at all. And I am in my early 50s. Not everything about the post is worth of nostalgia. Else should people feel nostalgic about slavery and no voting rights for women? Nah, SASE was stupid and unfair and it is good it is done with.

    But the mail is something different altogether. It has existed for 600 years and the way it was in our childhood (purchasing a stamp, open to anyone) since at least the 1840s in most of the world. Also at the time the concept of copyright was stronger because a copy was something you held in your hands.

  4. I hear you, Nick. How the whole process used to encourage continual reflection, for one thing. Love your last line, “..closer to the eternal, mysterious world of art.” And also the “ink-stained harbors” image of literary magazines. I am not immersed, but have definitely wet my feet in the new world. A recent visit with a poet friend, during which I admired his just-released invented memoir, beautifully published by Gaspereau Press, before we proceeded to an old-fashioned book store to browse through literary magazines and books from literary presses, provided a solid and comforting reminder of how things still are at one level, though I must admit I like saving paper and postage.

  5. I appreciate postal submissions for two cherished reasons: 1) the mere fact of the actual feel of inserting my 81/2 X 11’s works into an envelope with a SASE is rewarding and 2) I have met some interesting and engaging individuals in line at the post office. Yes, I do have a life andI get out often but the concept of postal submissions far outshines transmitting my discourses through that mysterious channel called cyberspace.

Add Your Comment:

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.