Kimberly Parish Davis is the director and founder of Madville Publishing. She sometimes teaches writing, and worked on the editorial staff of Texas Review Press for five years.
Winner of The 2021 Arthur Smith Poetry Prize Look for it September 2022
Jesse Graves, the judge for the 2021 Arthur Smith Poetry Prize, said:
“… moving and memorable in terms of subject matter… accomplished in form and technique. The individual poems are brilliantly expressed, and they add up to sustained and coherent whole. The poet … captures the experiences living [in Appalachia] and moving away and the feelings about the language, beautifully.”
Lisa Parker is a native Virginian, a poet, musician, and photographer. Her book, This Gone Place, won the 2010 Appalachian Studies Association Weatherford Award and her work is widely published in literary journals and anthologies. Her photography has been on exhibit in NYC and published in several arts journals and anthologies.
Splinter by Susan O’Dell Underwood
Finalist for the 2022 Arthur Smith Poetry Prize Look for it May 2023
Jesse Graves, the judge for the 2021 Arthur Smith Poetry Prize said:
“These poems are wise and generous throughout, and witty at times to provide a balance to the elegiac tone.”
Susan O'Dell Underwood is a native of East Tennessee, where she has lived most of her life. She's the director of creative writing at Carson-Newman University. Besides two chapbooks, she has one full-length collection of poetry, The Book of Awe (Iris, 2018). Her novel Genesis Road is forthcoming from Madville Publishing (June 2022). Her poems and fiction are published and forthcoming in a variety of journals and anthologies, including A Southern Poetry Anthology: Tennessee, Oxford American, Alaska Quarterly Review, and Still: The Journal.
We wish you Happy New Year 2022, but first, here is a quick recap of 2021.
We know that many among our subscribers, authors, and staff went back to teaching face-to-face amid Covid fears in 2021. We applaud you all for your hard work and dedication. What you do is a calling.
We didn’t get to see one another in person as much as we like in 2021, but we attended a few virtual events, like AWP in March, and there were a few bright pockets of time when the likes of Lee Zacharias, Wondra Chang, and Francine Rodriguez braved the scary world outside between Covid mutations and booster shots to sign books and read their stories in front of live people.
Our 2021 authors have been fabulous. They affirm that despite the daunting nature of the search for one’s audience, worthwhile literature can still find an audience. (All praises to the Indie bookstores that have hosted our authors this year.) While the pandemic has seen book sales industry-wide increase due to the increased demand for children’s books and textbooks, that increase in sales has been more modest for authors of poetry, literary fiction and nonfiction. That said, Madville increased production a little bit this year, to an official 13, with one 2022 title coming out a little early, (All I See Is Your Glinting: 90 Days in the Pandemic Gianna Russo and Jenny Carey.) We also added 8 hardback editions of existing titles in our catalog. You can find those here.
We had some good news in February after two long years of going backward and forward with the IRS, we were granted our official 501(c)(3) nonprofit status. That’s huge for a little press like Madville. It allows us to apply for grants and makes any donations we receive tax deductible (retroactive to June 2020). If anyone needs a receipt for a donation, please get in touch. And, of course, we are always able to put donations to good use, producing and promoting quality literature.
Many thanks to all who donated during our recent online fundraiser. And we have to say, it isn’t too late to make a 2021 donation!
We accomplished a lot in 2021
We published 13 titles this year, and we couldn’t be prouder of them.
Note the badges on the award winners… We had some of our 2020 titles winning awards this year as well. We created a new section of the website for Award Winners so you can see them all in one place.
Ron and Alice Kenney.
On a sad note, we lost one of our Madville family this year. Ron Kenney, our beloved English jockey friend, and author of An Englishman in Texas passed away. We hope you will join us in sending love and condolences to his wife Alice. Ron was 91 years old, and one of the most uplifting people you could ever hope to know. He’s bound to be singing and dancing in heaven.
From Madville Publishing to you,
Happy New Year and all the very best wishes for 2022!
A selection of the Madville Publishing titles available through iTunes book store. If you read on an Apple device, you can find our titles there.
The following list is incomplete and out of order, but we have books for sale there. We even have a few audio books for sale there, since ACX serves both audible and the iTunes store!
Shortly after my short story collection Judgment Day & Other White Lies was picked up by Madville Publishing, I read “Under the Cover – Mistakes by the Lake” on Madville’s blog where author Brian Petkash describes his process of coming to the stunning book cover design for his debut short story collection Mistakes by the Lake, a collection that is coincidentally my favorite book I’ve read from the Madville catalog. Since my own short story collection is, like Petkash’s, a linked collection with several shared themes, I reached out to Kim Davis, press director for Madville, and asked if it would be possible to have a local artist and graphic designer I knew design the cover for me.
Kim informed me, in fact, that it is the intention of Madville to offer author’s more creative control in the publication process, that she believes collaboration makes for better titles. Especially on an element like the cover design, she thinks writers can offer much help in selecting pointed images that direct readers’ eyes to books they will enjoy reading.
In my own case, I knew right away I wanted to ask Crowcrumbs to design the cover. She is an old friend of mine and local artist in Houston, TX who studied design at the University of Houston and does compelling illustrations and graphic design. I also have always sensed a lot of similarity between her work and my own in terms of its thematic nature. In particular, two images spoke to me and told me she would be the best person to ask.
by crowcrumbs
by crowcrumbs
You see, my collection is centered around retellings of Greco-Roman and Christian myths that challenge foundational truths in American society like patriarchy, capitalism, and in particular, white supremacy. The above images jumped off the page to me as ones that were both blasphemous and reverent at the same time, images that could reflect my own technique of using meta-narratives that both reify and problematize traditional culture. Additionally, two of the more prominent stories in the collection in terms of their imagery are the opening alternative telling of Genesis “Para(Fa)ble of the Stoned Ape,” where violent sex-crazed stoned monkeys create western civilization by hallucinating and then telling stories of their hallucinations, and also, “‘Per-C and ‘Dusa: A Narrative Representation of a Graphic Epic’ by Angela Ames, PhD,” which is an ekphrastic retelling of the Perseus and Medusa myth in the form of a fake scholarly article. Therefore, the monkey and the mysterious woman adorned in religious imagery felt like they could be synthesized in some form that would make for a great cover to Judgment Day & Other White Lies.
Not to mention, most of the collection takes place in Houston, TX, where Crowcrumbs and I both live. In fact, one of Crowcrumbs’ most sought after images is her sketch of the famous rock music club Fitzgerald’s (RIP) which was once home to many of our favorite local punk bands over the years (buy a print of the below image here!). I figured between the ominous religious imagery, the evolutionary and creationist themes, and her photorealistic interpretations of local landmarks that we would surely find a cover design that was perfect for the book (and I believe the one we eventually came to is, in fact, perfect).
One of Crowcrumbs’ most sought after images is her sketch of the famous rock music club Fitzgerald’s (RIP) which was once home to many of our favorite local punk bands over the years (buy a print of the below image here!)
Setting out with a few images I picked out of Crowcrumbs’ catalog to give her direction on what kind of design I would like, we discussed the possibility of synthesizing local haunts, religious imagery, and also some imagery from the stories themselves. We also discussed doing a black-and-white color scheme that would align with the discussions on racial identity that are interspersed throughout the collection. Crowcrumbs went to work sketching some rough images that we might use on the cover.
First, we talked about using an image from the story “Fury, Or a Matricide in Sound,” which is a retelling of the Oresteia that involves the heavy metal musician Orestes helping his mother commit suicide to escape from her questionably terminal illness. The image at left comes from later in the night after he has left his mother to die when he stands in judgment of the crowd, who we discussed having a religious component, perhaps like a group of monks. Here, one of those members is stage diving into the waiting arms of that judgment.
We also discussed just doing a direct image from the “Per-C and ‘Dusa” story, one where Per-C paints the decapitated Gorgon head in the sky above the First City Tower in Houston, TX in a graffiti type style.
Then, there was the fractal monkey mind explosion, which again, references “Para(Fa)ble of the Stoned Ape” and also introduces one of the recurrent themes in the collection, the idea that narrative is a fractal process grown out of control where we establish the parameters and influence of time and space on our own psyches by simultaneously imagining ourselves in the contexts of the characters we love and hate in stories, the genres those stories belong to, the tradition those genres emerge from, and the place of those traditions within the process of narrative altogether, finding meaning by noticing self-affine structures that contain symmetry across scales.
Finally, we discussed a Greek style ancient vase with elements from each story spilling out of it, showing the neoclassical mode of critique this collection looks to subvert.
While Crowcrumbs’ initial sketches all had elements that I wanted on the cover, none of them had fully struck me as encompassing the thematic quality of the full-breadth of the collection. So, we discussed perhaps synthesizing some of those cover designs and having a monkey come out of a vase that maybe had a medusa head in the artwork. She sent me back one more initial sketch of that idea. She also explained to me that drafting is her first and true love as an artist. She also uses this skill most frequently, since she has been the primary illustrator for George Covington’s biweekly opinion column in the Big Bend Sentinel, a paper covering the region of West Texas where Crowcrumbs used to live and work as a librarian. Her illustrations in the Big Bend Sentinel include similar aesthetics to mine too, like this illustration of a Gorgon head she did for a Covington column about the nefarious nature of Amazon’s Alexa.
She also told me she liked the process because while “it relates to the text, it is also not necessarily true to life, something that makes it both an interpretation and its own creation, and I get to use my other skills at my day job too where I focus on user experience of software design. It forces me to consider the audience and what they will imagine as they read the words and process my artwork.”
The British spelling of the title aside, this was the sketch that finally spoke to me. I gave her the okay to precede bringing that image to completion for the cover design, which ended up being far more detailed and elaborate. Later, when asking Crowcrumbs about her process, she explained to me, “I start on paper, since it is more gestural, it gives me space to play around and is less committal. It can get messy, basically. Then, once I find an image I like, I take a photo and drop it into ProCreate, which is the poor man’s Photoshop. I use the stylus feature there to redraw the image, I add color and definition. Finally, I transfer it to Photoshop, which I use a limited version of to add the finishing touches, since it allows more layering of the design features than does ProCreate.”Crowcrumbs emphasized that she used a similar, albeit more lengthy process, for coming to a book cover design for Judgment Day & Other White Lies. She read a manuscript copy of the book I sent her and really tried to process not just what images came from the book itself but how those images might be combined in a way so as to evoke a similar theme. This was why, in the end, that even though I asked for a mostly black-and-white cover with perhaps a little color around the edges that she decided for a full-color cover design. “I just didn’t think the black-and-white version,” Crowcrumbs explained, “or the later version I made, where the monkey was a traditional brown, were fully hitting on the surrealism I encountered in the book. Your stories pop off the page by flaunting expectations, and I wanted a color scheme that did the same. This was why I went with a traditional orange for the vase and used it on the monkey too while using the more surreal greens and blues and starry sky elements in the background.”
I was thrilled with it when she sent me the initial proof and believed this was where she really came through in taking ownership of the image, as I told her she had free rein to do, since she was the artist and I was the writer. I trusted her skill and trusted her as a person, us being friends for years and all (and in the same online book club together to protect our sanity during the pandemic).
I just love how the image is both threatening and playful, evocative in the color scheme, and how with the presence of Greek history, a revolver, an egg timer, and a wild monkey, that it creates a true sense of urgency, along with mystery, something that I hope this collection does in terms of engaging white people in their own interest in dismantling white supremacy.
So that’s the story of how the book cover came into being. If you like the cover design, please consider commissioning Crowcrumbs for your own artistic needs. Again, this cover perfectly captures my literary aesthetic in a visual form. Also, you can purchase copies of her prints, as well as t-shirts and stickers with her artwork on it here. Lastly, for those of you local to Texas, be on the lookout for combined readings and art show collabs between Crowcrumbs and me to promote the book release, and to promote Crowcrumbs as the incredible artist and designer that she is.
