Archive for the ‘art and philanthropy’ Category

Taken for Granite Artist Opportunities

Tuesday, June 18th, 2013

Of Note: Two dozen art installations from Boston Sculptors Gallery members on temporary display at The Christian Science Plaza 210 Mass Ave, Boston.

Short Fiction The University of Pittsburgh Press is currently accepting entries for the 2014 Drue Heinz Literature Prize for a collection of short fiction. The prize carries a cash award of $15,000 and publication by the University of Pittsburgh. Learn more.
Deadline: June 30, 2013 (postmark)

Mobile Phone Photography The Vermont Center for Photography is currently accepting entries of cell phone/mobile phone photographs for their upcoming August 2013 juried exhibition Phone.tography. Learn more.
Deadline: July 1, 2013

Watercolors The National Watercolor Society in San Pedro, CA, is now accepting entries for their Watermedia Exhibition. Paintings must be primarily water-based media on a paper surface and unvarnished (Yupo & Tyvek are permitted). Other media, if used, must be in conjunction with water media. Water media must be the dominant element. No digital media, photography, prints or reproductions may be used anywhere in the painting. Learn more.
Deadline: July 27, 2013

Call to Hampshire, Hampden, Franklin and Berkshire County Artists The Northampton Arts Council is now accepting submissions for their 2013 Biennial (Wednesday, October 2nd, 2013 through Thursday, October 31st). This year’s theme Be Here Now can be interpreted freely by 2D, 3D, video, and performance artists. They encourage submissions of large 3-dimensional and performative weather-tolerant art for their expanded outdoor exhibition space on the Forbes Library lawn. Learn more.
Deadline: August 1, 2013

Call for Artists The Zullo Gallery in Medfield is currently accepting entries for its 19th Annual Juried Exhibition. This years juror is Mim Brooks Fawcett, Executive Director of the Attleboro Arts Museum. Open to all artists (18 years or older) working in all mediums. Applicant’s may submit up to three works. Work must have been created within the past two years. Learn more.
Deadline: August 21, 2013

Women Poets A Room of Her Own Foundation is currently accepting entries for their To the Lighthouse Poetry Publication Prize, awarded to an  unpublished poetry collection by a woman. The award amount is $1000 and publication of the winner’s poetry collection by Red Hen Press. Learn more.
Deadline: August 31, 2013

Creative Arts Fellowships The Radcliffe Institute for Advanced Study is now accepting fellowship applications in Creative Arts. Since this is a residential fellowship, fellows are expected to reside in the Boston area and to have their primary office at the Institute and be free of their regular commitments so that they can participate fully in the life of the community. Fellows may come for the academic year ($70,000 stipend). Applicants may not be students in a degree program at the time of application submission. Learn more.
Deadline: September 23, 2013

Image credit: Loving Stones, granite sculpture by Joseph Wheelwright. Temporarily on display at the The Christian Science Plaza, 210 Massachusetts Avenue, Boston.

The Art Connection: Bringing Art to Healing Environments

Monday, September 13th, 2010

We’re interested in Massachusetts cultural organizations that identify a specific need in the arts, then shape their organization to directly meet it. In essence, they match the right horse with the right course.

We contacted Tova Speter, a local artist, art therapist, and arts educator – and the program manager for an organization that connects contemporary art with underserved communities.

The course: Community non-profits interested in displaying original work by local artists often don’t have the means to purchase art. And artists who want to donate work to worthy organizations and reach more members of the community may not have the connections to make it happen.

The horse: The Art Connection, an organization that finds homes for donated art in service organizations that make a difference.

What we do: The Art Connection enriches and empowers underserved communities by expanding access to original works of art. The art donation and placement program allows the opportunity for clients and staff at the nonprofits to choose the works that are most meaningful to them and to experience the transformative possibilities of art in their lives.

Since its inception in 1995, this unique gifting program has supported over 300 agencies in their personal selection of more than 4,500 pieces by 300+ artists and collectors. Within these healing environments, the original works of art provide welcome opportunities for reflection, inspiration, comfort, and hope. The artists are delighted to exhibit their work in places that attract a large number of visitors and feel good knowing that their work can have an impact on the daily lives of others. Organizations find that original artwork enlivens spaces and connects them to their constituents in profound ways. Ours is an enriching creative collaboration on all counts. Sometimes, just one painting or sculpture can make a difference. This simple but powerful idea has resulted in thousands of installations into scores of organizations, giving those who often have the least access to art direct contact in their own communities.

What’s up next: The Art Connection hosts a variety of events throughout the year. Coming up in the next three months:

  • Just As I Am, a 50-year survey of the work of Fay Chandler, September 16-27 at the Cyclorama Building, Boston Center for the Arts. Fay Chandler is an artist and the founder of The Art Connection, and her altruistic nature has encouraged her to celebrate her 88th birthday by having a survey of work from her 50-year career. Opening Reception and Art Sale: Thursday, September 16, 5 to 7 PM. All funds raised will benefit The Art Connection, and at the end of the exhibition, Fay will donate any remaining work to our community nonprofit partners.
  • Esperanza Mural Dedication on September 28, 5:30-7 PM. Residents of Casa Esperanza, Inc, a substance abuse treatment facility in Roxbury, have been working with The Art Connection and professional artists Tova Speter and Anyahlee to create a community mural in the Dudley Street Neighborhood (mural pictured below). A Mural Dedication Ceremony will be held on September 28, 2010 at 349 Dudley Street, located next to a community center and children’s playground. The mural highlights Roxbury’s diverse community and depicts themes of hope, Latino culture, recovery and community support.
  • Film screening of Herb and Dorothy, November 8, time TBD, in partnership with the Center for Art and Community Partnerships at the Massachusetts College of Art and Design. Herb and Dorothy is the story of a postal clerk and librarian who, with very modest means, built one of the most important contemporary art collections in history. Stay tuned to The Art Connection website for more details to come.
  • Longwood Symphony Orchestra Concert at New England Conservatory’s Jordan Hall, December 4, 8 PM. Maestro Jonathan McPhee and Longwood Symphony Orchestra take the audience on a moving journey that features works by Alexander Borodin and Richard Wagner in a concert to benefit The Art Connection.

What artists interested in working with us need to know: The Art Connection’s art donation and placement program connects artists and collectors who want to donate artwork knowing that it will have an impact on those who access services at the recipient agencies. We have seen art bring hope and inspire people, while making their work or living places simply better places to be.

Our artists are both established and emerging, mostly academically trained and gallery-qualified, and a few are self-taught. Their work represents the spectrum of disciplines including painting, printmaking, sculpting and photography and spans a multitude of media.

Artists have donated work through The Art Connection for a number of reasons, including to:

  • Know their work can have an impact on the daily lives of people in need
  • Show work to audiences who normally do not have access to art
  • Have work out of storage and have it viewed by many
  • Support a recipient agency’s mission
  • Increase their visibility and reputation
  • Provide a solution to issues relating to estate planning
  • Donate through a reliable program that makes the process simple

If you are an artist, learn more about how you can get involved. Questions – email us or call 617-338-7668.

Images: all images courtesy of The Art Connection; logo for The Art Connection; ESPERANZA MURAL by Tova Speter and Anyahlee working with residents of Casa Esperanza in Roxbury, photo by Paul Foley; Fay Chandler, HOLD TIGHT (2010), 60×48 in; Ken Beck, TOO BIG PEACHES (1989), lithograph (work donated to Children’s Services of Roxbury; Fay Chandler, WINTERS APPROACHING (2008), 18x6x4 in; Helena Wurzel, RED SHED, oil on canvas (work donated to Sherrill House).

Rifrakt: Shining a light on emerging artists

Wednesday, August 4th, 2010

The Rifrákt artist collective takes the conventional approach to art exhibitions and bends it a bit (the name is a play on the word “refract”). Founded by Carolyn Hulbert and Stephanie Goode, the collective shows work in a variety of spaces, including private homes, galleries, and alternative spaces like coffee houses and libraries. And, with their latest effort, the book 25 Emerging Boston Artists 2010, they aim to advance the featured artists while donating proceeds to causes they support.

We interviewed co-founder Carolyn Hulbert and Stephanie Goode about Rifrákt and the new book, as part of our Art and Philanthropy series, looking at artists who merge creative projects with philanthropic goals.

ArtSake: I was interested in something Carolyn said in an interview with TeaParty Boston, that one of the motives behind forming Rifrákt, along with exhibition opportunities, was helping the members grow as professional artists. How important is community and dialogue to your work, and your careers?

Carolyn: Community and dialogue are very important, especially when you’re trying to create a name for yourself, or for a collective. It helps to start in an environment you consider home, where you know and see people and they start to recognize you and your work. Even though our subjects aren’t directly connected to our community, our work is a product of where we live and the time we are living in.

Stephanie: If one is used to traditional schooling with the benefits of critique groups, Rifrákt and groups like ours make the transition to the art world outside school easier. It helps with self motivation especially.

ArtSake: Can you talk about how the new book came to be? How does the book fit in with Rifrákt’s goals, as a collective?

Stephanie: Carolyn and I talked about doing the book to showcase artists work, hoping that it would help each artist in exhibition and public representation. For some artists, getting their work out there can be very difficult without prior knowledge, contacts, and steady stream of personal strength as potential rejection letters come in. The book was a chance for us to see who else was out there in Boston that we felt everyone should know about. Rifrákt has always been a group aimed to help not only ourselves as we continue our career, but also those in our community.

Carolyn: We just wanted to see more opportunities for emerging artists in Boston. The book was the first larger scale project that we have done, and there are definitely more plans for projects that involve Boston-based artists.

ArtSake: Rifrákt has had four exhibitions since June 2009, and one upcoming in August. Can you talk a little bit about your curatorial process and how you select your venues?

Stephanie: Exhibition and competition is very prevalent in Boston, a city full of art schools. Creating your own alternative space is one way to curate and exhibit your own work within your own means and desires. We started doing one-night house shows with the core members and other guest artists in 2009. Basically, we took in any artist who wanted to exhibit their work and had the same positive and strong energy that we embodied. As time went on, more and more people became interested in joining. We created our website, adding to our member count, and began contemplating exhibiting in spaces other than apartments.

Carolyn: Most of our upcoming shows are through networking with previous and current Rifrákt members. Most of our venues are selected from research and networking. We definitely look at a lot of artist web sites, blogs, venue and gallery web sites, and try to see if it’s a good fit for us.

ArtSake: Carolyn, your own prints and paintings are influenced by ancient cultures, animal imagery, and mysterious symbols. What draws you to the subjects of your work?

Carolyn: The subject of my work is something that is personal or something I am very interested in at the moment. I love the unknown and mysteries. I can’t get enough of ancient cultures. There seems to have been a closer or more spiritual relationship between humanity and the earth. I feel by painting or drawing that, I feel closer to being a human, as well as transferring that feeling into my work. Most of the animal imagery is culture related, or is a current or past pet. I love adding Iceland my cat or Sais my dog into my work, or even using them as inspiration for a piece.

ArtSake: Stephanie, what draws you to the subjects of your work?

Stephanie: Most of my work revolves around psychology, and could be viewed as art therapy. Many projects work within the human psyche, dreams, familial spaces and nostalgia. I am always interested in why things are, how they came to be, analyzing. When I first started taking art seriously in my early teens, I worked a lot with drawing and mixed media. I became heavily involved within traditional photography in college. Now I am bringing back some of the mixed media work, printing photographs on adhesive vinyl, collage works on paper and assemblage projects for the future involving my own and found photographs.

ArtSake: What’s next for Rifrákt?

Carolyn: Rifrákt will be showing at Voltage Coffee and Art in August and at the West End Library branch in September. We will probably do a few small projects and a couple more proposals and submissions. We do have a proposal for a collaboration with another Boston collective! As for me, I have grad school on the mind, so I am taking my time and doing research.

Stephanie: We will continue to show and collaborate. I would like to grow in members and expand our reach beyond current limits. Perhaps collaborate with other Boston collectives, NYC collectives or show in corporate galleries and other venues that we haven’t been able to participate in before. Personally I would like to continue building a body of new work and grow in contacts to exhibit said projects. I may want to collaborate with glass and sculpture artists as well.

25 Emerging Boston Artists 2010 features work by Valerie Arruda, Fiona Boyd, Jessica Brilli, Alexandra Carter, Corey Corcoran, Leah Cunningham, Barbara Geoghegan, Stephanie Goode, Todd Goodman, Luba Grenader, Maggie Hennessy, Amy Hitchcock, Carolyn Hulbert, Vanessa Irzyk, Marco Jimenez, Scott Listfield (Painting Finalist ’10), Rachel Mello (Painting Finalist ’10), Aaron Morris, Nathaniel Price, Jennifer Reich, Nora Richardson, Anna Rochinski, Alec Strickland, Patricia Sarrafian Ward, and Brandy Wolfe.

An opening reception for 25 Emerging Boston Artists 2010 takes place on Friday, August 6, 6-10pm at The Temple in Jamaica Plain. The free event will include musical performances by Huellas and The Organ Beats starting at 7:30pm.

Copies of the book will be sold at cost through the 8/6 event. After that, all proceeds from the regularly-priced book will be generously donated to the Massachusetts Cultural Council.

Images: book jacket for 25 EMERGING BOSTON ARTISTS 2010 by Rifrakt Artist Collective; Vanessa Irzyk, UNTITLED (2009), oil on panel, 22×24 in; Marco Jimenez, YOUR DOG WAS AMAZINGLY CUTE, YOU WERE OKAY (2010), Missed Connections, mixed media; Carolyn Hulbert, SAIS AND HIS FRIEND OF GOLD (2010), digital print, silkscreen & gold leaf, 12×16 in; Stephanie Goode, RED, 9 HOURS (2003), light jet print, aluminum/plexiglas mtd. 12×12 in, editioned; Rachel Mello, WHITHER SHALL I WANDER (2009), Oil on hardboard cut to silhouette, 21 1/2 x 31 1/2 in.

Concord Free Press: literature of subversive altruism

Friday, December 4th, 2009

This is the second in a series of posts about Art and Philanthropy, looking at those projects that merge artistic with philanthropic vision. Interestingly, they often invent unconventional, innovative work models in the process.

In 2008, novelist, former rocker, and community activist Stona Fitch founded Concord Free Press, an outfit that blends his literary, DIY, and charitable inclinations. The press publishes two books a year using a ground-breaking, generosity-based model: authors (and the publishers, incidentally) donate their work, and the press gives away the books for free through its website and a network of independent bookstores. In lieu of payment, the press asks readers who receive the books to make a donation – in any amount – to a charitable organization. According to Stona, donations from Concord Free Press readers recently surpassed $100,000.

We asked Stona (recently named one of the 2010 Literary Lights by the Boston Public Library) about writers and giving, nontraditional publishing, and his revolutionary charitable model.

ArtSake: Your most recently published author was Gregory Maguire, author of Wicked and other bestsellers. Have you found a strong response among writers to your press’s philanthropic model?

Stona: At the Concord Free Press, we’re writers and artists first, publishers second. So our generosity-based publishing concept is designed for and by writers. They get to be part of an intriguing experiment that connects with readers in new ways, and that inspires incredible generosity. And their books can go on to second lives as commercial editions. We’ve been besieged by bad news about our industry. The Concord Free Press sends a new, positive message – one that definitely resonates with writers. And with readers. In our first year, we’ve been flooded with book requests, encouragement, and overwhelming interest from around the world.

ArtSake: The first book the press published, your novel Give + Take, was orphaned at a previous publisher after its editor departed. One could assume this kind of setback will arise more and more as the economic turmoil continues to affect publishers. Do you think more authors will seek alternate publishing routes?

Stona: It’s simple. Writers want their work to reach readers. For the first time in history, writers can publish their own work, quickly and inexpensively. While traditional publishing remains the best avenue to reach the most readers, alternative channels – small online presses, self-publishing, e-books, Twitter novels, and whatever’s next – serve as a vital complement to the mainstream. As traditional publishing continues to contract, more writers will pursue creative ways to reach readers. The inmates have the keys to the asylum now. Whether they choose to use them is another question.

ArtSake: Give + Take involves a Robin Hood-like figure who gives to the poor. Did your book’s plot inspire the press’s philanthropic model? Or was it more a matter of philanthropy as a core interest of yours to begin with?

Stona: Give + Take definitely inspired the press. My novels tend to wrestle with consumerism, and Give + Take is no exception. I’ve also been part of the leadership of a local farm, Gaining Ground, which grows organic produce and gives it away to people in need. So I’m definitely grounded in non-profit work, social philanthropy, the DIY approach, and rethinking traditional/accepted models. The Concord Free Press has been called a grand experiment in subversive altruism – a mouthful, but accurate.

No matter who published them or how good they are, most books go on a familiar trajectory—new, used, shelved permanently, dusty. Ours keep going from hand to hand, generating donations along the way.

– From the Concord Free Press website

ArtSake: I noticed that Give + Take will be published by Thomas Dunne/St. Martin’s Press in 2010 – congratulations! Do you have any thoughts on the way nontraditional ways of presenting art – self-publishing, giving away selected work for free, Creative Commons licenses, etc. – can benefit an artist’s career?

Stona: Giving something singular and beautiful away has incredible power – particularly when you expect nothing in return. Whether you’re Banksy or a band on MySpace, giving away your art can revalue it and create new energy that comes back to the artist in one form or another, often in unexpected ways. But giving away work with the specific intent of furthering a career seems opportunistic and kind of venal.

With the Concord Free Press, we’ve created a gift economy for publishing. But it definitely connects to (and co-exists with) a more commercial world, as described so presciently in Lewis Hyde’s brilliant book, The Gift. A free work can go on to a second, commercial life. For example, Thomas Dunne/St. Martin’s is publishing Give + Take and Harper Collins is publishing The Next Queen of Heaven – both in spring of 2010, coincidentally. We certainly didn’t go into the project with the intent of attracting commercial publishers, though we certainly appreciate their interest and enthusiasm.

Kevin C. of St. John’s, Nova Scotia gave $240 to United Way
Ying C. of Concord, MA gave $55 to Open Table/Concord
Mike D. of Monroe, GA gave $40 to the Lottie Moon Christmas Offering
Robyn F. of San Francisco, CA gave $50 to Choose What You Read NY
Alia W. of North York, ON gave $90 to a friend for bus fare to see his daughter
– Donations inspired by Concord Free Press, from the press’s website

ArtSake: It’s interesting that you chose to include Concord in your press’s name. Does the press being in Concord, Massachusetts, with that town’s legacy of individualism, have a particular significance to you?

Stona: Concord has always nurtured and inspired renegades – from Minutemen to Transcendentalists. I’d like to think that Concord Free Press fits cleanly in that lineage. It’s also important for a project to be grounded in a place. So while we have supporters and readers around the world, Concord is our base – from our office over a local bakery to a great local bookstore and library to the hundreds of committed readers and diverse authors who live here.

ArtSake: What do writers interested in submitting work to Concord Free Press need to know?

Stona: We only publish two books a year, generally solicited directly from established authors. We’re not an ideal option for a first novel, since first novelists deserve the broadest audience possible and tend to require more editing than our all-volunteer staff can offer. And though our books are free, the quality of the work has to be exceptional.

Right now, we’re putting together a new book, IOU: New Writing on Money, a multi-genre collection of essays, short stories, and poems edited by renowned poet (and CFP Poetry Editor) Ron Slate. Writers interested in being part of this inherently more inclusive project can find details on our website, and on Facebook. And anyone with questions, comments, insights – or financial donations, we’re a non-profit foundation, after all – can feel free to email us at

Stona Fitch‘s novels, including Senseless, Printer’s Devil, and Give + Take have been widely praised by critics and readers or their originality, intensity, and prescience. Stona lives with his family in Concord, Massachusetts, where he is also a committed community activist. He and his family work with Gaining Ground, a non-profit farm that grows 30,000 pounds of organic produce each growing season and distributes it for free to Boston-area homeless shelters, food pantries, and meal programs. He founded Concord Free Press in 2008 and was recently named one of the 2010 Literary Lights by the Boston Public Library.

Image: Stona Fitch in New Town, Edinburgh, 2008, Photo by Laura Hynd;cover art for THE NEXT QUEEN OF HEAVEN by Gregory Maguire (Concord Free Press 2009).

Madras Press: giving fiction the perfect fit

Friday, November 13th, 2009

There are interesting unities between philanthropy and art-making, particularly when art is produced and presented in non-traditional ways. Both require out-of-the-box approach to commerce, an eschewing of financial norms. In Art and Philanthropy, we’ll look at those projects that merge artistic with philanthropic vision – creative, innovative, altruistic.

Sumanth Prabhaker, publisher of the Brookline-based Madras Press, has a demonstrated affection for novellas and long short stories (being himself a writer, and now a publisher, of them). Noting most such fiction is too long for most magazines and journals yet too short for trade publishers, he decided to celebrate and accentuate the form, publishing stories and novellas as stand-alone volumes.

They’re lovely books – slender paperbacks about the width of an open hand, with cover art, such as the above painting by Jenny Downing, selected by the writers. The first series of authors – lauded short story writer and novelist Aimee Bender, Trinie Dalton, Rebecca Lee, and Sumanth himself – comprise a range of sensibilities whose primary link is an elusiveness to quick categorization. How is it Madras can afford to publish such singular, idiosyncratic books?

The key is that Madras focuses on social, rather than financial, profit. All artists – including the published writers and the visual artists providing cover art – donate their work. All net proceeds generated by the sale of the books will go to a charitable nonprofit of the author’s choosing. To keep costs low, Sumanth is distributing books directly to independent bookstores, including Harvard Bookstore and Brookline Booksmith in the Boston area, and RiverRun Bookstore in Portsmouth, NH, and selling them from the press’s website.

Madras is about to publish its first series of books (December 1), but you can get a sneak peak at a reading by Aimee Bender at Brookline Booksmith this Saturday, November 14, 7 PM. We asked Sumanth about his altruistic approach to publishing, and how interested writers can get involved.

ArtSake: In an interview for The Bostonist, you mentioned that the “not very marketable” length of your own novellas (too long for literary magazines, too short for trade publishers) got you thinking about a different model for publishing long stories. Have you found a strong response to your model in the writing community?

Sumanth: A lot of people have said some very nice things about us. At the same time, I’ve been interested to learn how many people see this as an obscure project – certainly not meant in a negative way, I don’t think, but it’s interesting to see how surprised people are at the abundance of these in-between stories. Agents discourage writers from pitching short stories, because they say that editors don’t buy them; editors don’t buy short stories because marketing people tell them they don’t sell; and all the market research shows that less-than-novel-length stories actually don’t sell very well. There are a number of different reasons why these stories don’t sell, but I don’t think any of them have to do with the actual stories. It’s equally frustrating to see writers who look at this trend as reason to avoid certain genres or forms, as it is exciting to see writers who don’t care about any of this stuff.

ArtSake: How did you decide to explore philanthropy as a central aspect to your publishing?

Sumanth: It makes sense to me, concerning my own stories; I didn’t write any of them with financial profit in mind, and I don’t like to think of them as commercial products. So we had to think of other ways to measure our success, outside of the marketplace. And without that burden of having to depend so much on sales for our survival, we were able to entertain some options that may not have otherwise been available to us, like giving the proceeds to charities. It seemed like a nice way to do things. Our authors get to choose the organizations to which the proceeds for each book are distributed, which I hope is a fun decision for them to make.

We still haven’t figured out the right model by which to assess our performance, however; there isn’t really a bottom line yet. Our authors contribute their stories at no profit, but our paper is heavy and costs a little more than average. Our production and editorial work is done on a volunteer basis, but our sticker prices are low. We’re saving money by distributing the books ourselves, but we’re spending more than most publishers on manufacturing by printing in smaller batches. It’s kind of confusing, at least to me, but I’m happy with the books, which is good enough for now.

ArtSake: I was impressed to see your initial list of authors, including Aimee Bender. Can you talk a little bit about how THE THIRD ELEVATOR and the other titles fit with your press?

Sumanth: For all three of the other titles in our first series (besides my own), we’ve just asked politely and hoped something would work out. There are so many reasons why Aimee Bender and Trinie Dalton and Rebecca Lee should have ignored us – we’re tiny, we don’t pay our authors, our books aren’t going to be in very many bookstores or on – but in each case I think they saw our project as an opportunity to publish these stories in a more appropriate format than they may have otherwise been given.

ArtSake: Do you see Massachusetts as a good place to be a writer? What about a publisher?

Sumanth: Probably yes to both, but I’m still new here, so I haven’t got any huge insights into the local culture. Most of the book production stuff could probably happen anywhere, as long as you have a computer and some free time. But what we’re working on now – publicity, reading events, etc. – is much easier here than I’d expected, having grown up in a suburb in the Midwest where Borders was our only bookstore. I remember planning a reading at that Borders when I was in college. They couldn’t figure out how to turn the volume on the overhead speakers down, because there was some kind of password protection, so we all had to yell our stories into the microphone or wait for the quiet parts of the songs.

ArtSake: What do writers interested in submitting work to Madras Press need to know?

Sumanth: We’re looking for singular stories, ones that function better when read on their own than as a part of something bigger. Our first series of titles is very representative of our taste, in terms of content, so that’s always a good place to start. We like images and textures and colors and interesting prose and lots of food. We like murder mysteries, too. 10,000 words is our minimum, just to fill out the paperback spine, and for now 25,000 words is our maximum, to keep manufacturing costs at a manageable level. Previously published stories could work, depending on the status of the previous publication – query before sending anything ( And we prefer printed submissions; they can be mailed to:

P.O. Box 307
Brookline, MA 02446

Aimee Bender reads from The Third Elevator at Brookline Booksmith on Saturday, November 14, 7 PM. All net proceeds from sales of The Third Elevator will benefit InsideOUT Writers, an organization that teaches creative writing in juvenile detention centers.

Images: Cover art from Madras Press Series One titles (2009): BOBCAT by Rebecca Lee, from PRONGS courtesy of Jenny Downing; SWEET TOMB by Trinie Dalton, image courtesy of Matt Greene; A MERE PITTANCE by Sumanth Prabhaker, from SUN/SQUASH by Joan Snyder (2002), oil, acrylic, and herbs on wood panel, diptych, 18x36in; THE THIRD ELEVATOR by Aimee Bender, image courtesy of Aimee Bender.