Who Do We Publish?
Rusted Radishes accepts submissions from anyone who has a relationship with Lebanon or the MENA region, whether you are from there, have traveled or worked there, or have some other tangible connection. Ultimately, our mission is to create and support a space for these writers and artists. In addition to our seasoned authors, artists, and translators, many of our contributors have been published for the first time by Rusted Radishes. Our mission is to bring their work into the spotlight. This mission is parallel to publishing previously unpublished work — to continually share new work to a larger audience.
Rusted Radishes is housed in the American University of Beirut’s Department of English and is supported by the Faculty of Arts and Sciences and the Maroun Semaan Faculty of Engineering and Architecture.
Open call: Web-only Submissions
We accept rolling submissions year-round for publication to our website at www.rustedradishes.com. We accept general submissions or theme-specific, which are detailed below. Please refer to our General Submission Guidelines below to submit.
“Thawrat” is a series that features writers and artists’ ongoing work during these revolutionary times. Through this series, Rusted Radishes seeks to create a literary and art home for the everyday stories, fragments, experiences, and art that voice the internal and external revolutions of these pivotal times, that portray the subtleties of our crumbling and tiresome worlds, that reimagine alternative communities and economies, and that find meaning in resistance.
RR believes in the importance of preserving writers and artists’ work as it emerges in the now, as a way of holding onto the raw details of everyday resistance. During revolutionary times, we bring to life and kill a multitude of emotions and belief systems and images. Who we were and what we saw start on October 17 in Beirut, when beeping motorcycles zipped through the city and protesters chanted Hela Hela Ho, is different from who we are today and who we will be tomorrow. Let us remember, narrate, ponder, be present, and record.
Today, as we live through a pandemic, closed within four walls, when just months ago our daily objective was to fill the squares, we look back at the revolution we started. We look through our screens at the reasons our revolution started, and we await our return to the squares. How has it been to live a crisis within a crisis? How has the sudden quiet affected our revolutionary thoughts? How has the economic crash changed us? Today, as we live in a “portal” to the world post-coronavirus, how do you see the future?
From Lebanon to Egypt and Tunisia, from Libya to Palestine and Syria to Iraq and Sudan to Yemen, our political and social fabrics have ruptured. RR wants to read your work from all of these places. To submit to this series, follow the general guideline of your designated genre and send it to email@example.com.
FILM AND TV REVIEWS
Often thought of as simply ancillary to the practice of filmmaking, film criticism is on the contrary one of its vital and complementary assets. At a time when images of all sorts tend to dominate our media landscape the space for film criticism is more central than ever. The written word in fact allows for that space of reflection that this onslaught of images, both moving and still, calls for. Unlike images, which are often experienced and consumed subconsciously, the written word has an analytical quality that can help us unravel the meaning of an image. To write about moving images is to make sense of them, is to investigate the meaningful extent of their implications, both ethical and aesthetical. To do so in a region with a distinct visual culture that has historically favored abstraction over figuration, while being traversed by multiple influences, only fuels the intellectual exuberance we strive to feature on our pages.
Rusted Radishes is now open to submissions from critics from the region with a keen interest in film or TV (however porous and expanded these definitions have become) as well as from people outside the region with an interest in audiovisual productions from and about the Middle East. We welcome in-depth, critical texts that while exclusively focused on cinema and its permutations are willing to investigate their ramifications into the wider social and artistic context. Critics, filmmakers, film curators and simple lovers of the 7th Art are welcome to submit a 300-word abstract outlining their idea and a brief biography. Features, film reviews, retrospective articles on a given director, interviews, film reviews and festival reports are all formats we will be considering for publication.