The Pocket Poet enters the literary landscape as a journal organized around a single, exacting constraint: the small space. Its inaugural call for the January 2027 issue invites haiku, senryu, tanka, micro poetry, short free verse, short prose poems, and experimental short poetry—forms in which compression is not a limitation but the primary compositional instrument. The journal positions itself internationally and without regional affiliation, and its stated interest lies in work that is 'powerful' within brevity, a phrase that places the editorial emphasis on intensity and precision rather than mere shortness. The terms of submission are deliberately narrow and transparent. Poets may submit up to five poems in a single document; individual poems must run fifteen lines or fewer; and all work must be original and unpublished. There is no submission fee. The journal does not announce payment, prize, or honorarium in its call, and contributors should proceed with that absence in view rather than assume terms not stated. What the journal offers, on its own account, is publication in an issue dedicated to short forms and an international readership assembled around that dedication. The curatorial vision is legible in the categories themselves. By naming haiku, senryu, and tanka alongside prose poems and experimental short poetry, the editors signal an interest in both inherited short forms and contemporary mutations of them—work that knows the tradition of the small poem and tests it. The prose poem's inclusion indicates that 'line' is understood loosely, as a unit of measure rather than a doctrine. For poets whose practice already lives in the fragment, the epigram, the compressed lyric, or the one-breath image, this is a venue constituted specifically for that work.