A two-page opera about a minstrel turned mass murderer! What lynching and Internet porn have in common! And a poem called: “Drop It Like It’s Hottentot Venus!” All this, and more, in SkinMag, a new chapbook by Douglas Kearney. Only $7. Cheap! Click to preview and order right now right now!
It’s here! A live reading of several poems from the National Poetry Series selection and PEN America finalist, The Black Automaton!
<a href=”http://corollarypress.org/Corollary_Press/Home.html”Quantum Spit, Corollary Press, OCT 10 (chapbook)
Spare Parts + Lost Cities , self-published, 09 (eChapbook)
InJury, self-published, 08 (eChapbook)
Atomic Buckdance, self-published, 03 (chapbook)
Anthem (Collapsing), self-published, 01 (chapbook)
a “Voodoo Queen” struggles to save a city
from a hurricane. Scenes showcased at
The New York City Opera program, Vox 2009 in NYC.
a woman has a cyber-erotic transformation
via the subversive use of a vacuum cleaner.
Premiered JUL 08 in Los Angeles.
a man born with his sisterâÄôs face on the back
of his head has a night of reckoning.
Premiered MAY 08 in San Francisco.
a totalitarian engineer, a machete wielding
malcontent and a spider with a taste for meat
have an apocalyptic conflict; written in an
artificial language. Libretto excerpts featured
in Performance Research 12.3: On Blackness .
INJURY // 2008
In grad school, I had the good fortune to take an “experiments in writing” class with Dodie Bellamy. One exercise we got to to try included writing a series of 12 poems about a thing without ever directly naming the thing the poems were about. InJury was born. It existed primarily as 12 individual graphic design pieces and were mounted both at CalArts and at UC Santa Barbara’s Afro Geek Conference (thanks, Duriel Harris!). I always wanted a way to distribute these but it would be too expensive to do (in color and at the right size) and still have them accessibly priced. Thus, they were perfect for my free PDF chapbook series! Also included is “Miranda Rizights”âÄĒa poem I wrote in 2005. This chapbook was available on my site for about eight months (FEB to OCT) and was downloaded over 1100 times.
ATOMIC BUCKDANCE // 2003
Another DIY joint, I envisioned this as a companion to Anthem (Collapsing). I think I made about 60 of these, and have only my own copy left. I really wanted to put some of my more typographically experimental work out in the world, and this chapbook became a vehicle for that. I cannibalized a few of these poems for Fear, Some. I also used a poem from my Dove Sessions project*âÄĒ âÄúBrâÄôer Parrot Learns His Own SongâÄĚ and the dismantled Watermeloncholy, Baby project (âÄúThermojukleargeechigun,âÄĚ âÄúMumbo GumboâÄĚ and âÄúAtomic BuckdanceâÄĚ were slated for that one). Full table of contents below:
âÄúBrâÄôer Parrot Learns His Own SongâÄĚ
âÄúâÄėthat bit youâÄôâÄĚ
âÄúBougienigga Moan from North of IntegrationâÄĚ
âÄúOn the Morning of our Fifth AnniversaryâÄĚ
âÄú[see line 19]âÄĚ
âÄúThermojukelear Geechi GunâÄĚ
Buckdancing for Beginners
âÄĒâÄúMumbo GumboâÄĚ/âÄúLike A MosquitoâÄôs TongueâÄĚ
âÄĒâÄúscene from The Poisonous CoonâÄĚ
âÄĒâÄúView from an Uptown Window: MPLSâÄĚ
“It has come to thisâÄ¦”
*A series of 17 dramatic monologues, one each for every human figure in Romare BeardenâÄôs photomontage, The Dove (1964).âÄúShadowboxer on the Lookout,âÄĚ which appears in Fear, Some, is also from that series of poems.
ANTHEM (COLLAPSING) // 2001
My first chapbook was a DIY affair; I made it to sell at shows in Minneapolis. I think I made about 100 of these, all told. Many of these poems begin an exploration of a lyrical style highly influenced by Bob KaufmanâÄôs Cranial Guitar and several poems from Carl Hancock RuxâÄôs Pagan Operetta. As the bookâÄôs title suggests, the poems were explicitly political in theme and content.
I have a few copies of this one left. For those of you who have Fear, Some: yes, the title poem(s) of this chap are earlier versions of Anthem (collapsing) in the full-length book. Also included in this chapbook are the s(t)aint suite: a cycle of poems about Mumia Abu Jamal; âÄúThe Elephants Honky Tonk at the End of the WorldâÄĚ: a poem about the Republican National Convention in Philly, 2000; and âÄúThe Super Nigger Monster JamâÄĚ: one of the last of the âÄújam*âÄĚ poems and an MPLS barn burner. Full table of contents below:
âÄúMexico City, 1968âÄĚ
the s(t)aint suite
âÄĒâÄú3. reasonable doubt?âÄĚ
âÄĒâÄú5. the voiceless: william cook speaksâÄĚ
âÄĒâÄú6. re-tale (why this is happening)âÄĚ
âÄĒâÄú7. love (american style)âÄĚ
âÄúThe Elephants Honky Tonk at the End of the WorldâÄĚ
âÄĒâÄúthe song of samâÄĚ
âÄĒâÄúthrenody for haliÃ¦etus leucocephalusâÄĚ
âÄĒâÄúthe ballot booth slowgrindâÄĚ
âÄĒâÄúthe theme from star wars (remix)âÄĚ
âÄĒâÄúmelting pot (original dance mix)âÄĚ
âÄúlook: up in the skyâÄĚ
âÄúThe Super Nigger Monster JamâÄĚ
*The âÄújamâÄĚ poems were poems akin to rants, but more structured. Somewhat.
POETICS: The Black Automaton Series
The Black Automaton poems started as an exercise in my journal.
Every now and then, when I’m feeling a bit stuck, I think up 30 titles for poems I may not write. “The Black Automaton” kept popping up. I logged it in the back of my mind somewhere.
Later on, I began to think of certain processes I was growing obsessed with; I was locked into a kind of repetition, an idea that if one repeats a phrase enough, the reader (and as writer, I’m the first reader) will stop thinking of the individual words in the phrase. They will become a unit. A sort of plastic complex of words. At some other point, I’ll talk about how this relates to my “theory” of sampling, but it’s 1:00 a.m. now, so this is all I can do. Through repetition, I wanted the reader to pay attention to the fact that on the page, repetition is as much visual as it is cognitive. The visuality of it gets at my desire for a “performative page.”
In the summer of 2005, I was staring at blank pages in my journal. I had just finished teaching clustering exercises to high school kids and I remembered how these processes lookedâÄĒit was like a word exploded/flowered into new words, some clearly, others more idiosyncratically, associated with each other. I decided to try the exercise, but to somehow represent the process of the exercise in the poem’s final form.
The first draft (or, perhaps, “sketch”) looked a great deal like what you’ll find in the developed “Black Automaton” poems. These poems give me the opportunity to toy with visual poetics, a loose family of ideas I’ve been nursing about how to, say, represent rhyme visually–even when the words used don’t rhyme. Is there a “spatial” rhyme? How can one create simultaneity in a written document? That is to say, can I accompany myself in a poem, as a pianist might play and sing at the same time.
For me, the most exciting element of the Black Automaton poems is that I compose them directly in a design program, so the typographic procedures are not imposed on a “regular” poem, but elements such as layering, kerning, alignment, etc. play as important a role to the meaning of the poem as the dictionâÄĒeven as the poem is in its first draft. It’s a whole new kind of “poetic attention” (how I refer to the particular relationship between poets and languageâÄĒnot narrative or information) to experience.
So, the design becomes a kind of procedure. The “Black Automaton” or the poems’ elastic “it” (in small capitals) becomes at once a joke on the “black folks as monolithic” misperception and me as a poet following a particular set of constraints.
These poems are also my way of trying to synthesize hip hop production styles (sampling, chopping, layering) into a composition process and aesthetic. The approach to language is drawn from De La Soul’s Dave and Harryette Mullen. The overall texture of the texts seems to hover around Prince Paul covered by Madlib. Visually, the poems are like flowcharts or wildstyles (although to truly tap into the power of a wildstyle, they need to cover something up).
When she first saw one of the poems, my wife said they were like maps of a hip hop mind. Works for me.
The Black Automaton In De Despair Ub Existence #1
Right now, youâÄôre probably asking, âÄúWhat is MuckWorks?âÄĚ
Answer: Poets Yona Harvey and Douglas Kearney with a trunk full of lab coats.
We believe that writers should get the opportunity to muck around a bit. To try new things, but with the alibi: “MuckWorks made me do it!” And “it,” here, denotes one of a variety of secret poetic experiments.
MuckWorks will produce a series of chapbooks, pamphlets and more in which some of our favorite writers will be invited to experiment with different projects and constraints. The results will then be made available as free pdfs or mp3s downloadable from this site.
MuckWorks One features eight poets writing covers of Inaugural Poet Elizabeth Alexander’s poem, “Ladders,âÄĚ from her first collection, The Venus Hottentot. Check out new work from: LaTasha N. Nevada Diggs, Brian Gilmore, Yona Harvey, Terrance Hayes, Amaud Jamaul Johnson, Douglas Kearney, Bao Phi and Crystal Williams!
Click below to download:
For full CV, please download the PDF on the previous page
California Institute of the Arts, Valencia, CA
MFA Writing 2004, School of Critical Studies
MFA Thesis in Writing, School of Critical Studies: JungaeyÃ©, an opera libretto written in a language invented from a fusion of African-diaspora-based vernaculars, dialects, pidgins and syntactic constructions.
Howard University, Washington, D.C.
Major: B.A. English 1996, College of Arts and Sciences, Summa Cum Laude
âÄĒCoat Hanger Award, poem: âÄúSwimchant of Nigger Mer-folk,âÄĚ awarded by mipoesias.com (2007)
âÄĒMapfund Grant, lyrics âÄúSucktionâÄĚ with Anne LeBaron, composer (2007)
âÄĒNew American Poet, awarded by Poetry Society of America (2007)
âÄĒPhi Beta Kappa (inducted 1995)
âÄĒGolden Key Honors Society (inducted 1994)
âÄĒDeanâÄôs List, Howard University (1992âÄď1996)
âÄĒFirst returning fellow for Idyllwild Summer Arts Poetry Fellowship (2007)
âÄĒIdyllwild Summer Arts Poetry Fellowship (2006) a week-long writing conference/workshop. Fellowships are offered through nomination.
âÄĒBread Loaf WriterâÄôs Conference WaiterâÄôs Scholarship: âÄúawarded to applicants whose writing shows exceptional promise.âÄĚ (middlebury college, vt 2004)
âÄĒCallaloo Creative WriterâÄôs Workshop Fellowship: a two-week workshop sponsored by Callaloo, an internationally-distributed literary journal. (texas a&m university, tx 2004 & 2005)
âÄĒDonn Tatum Scholarship (2003)
âÄĒCave Canem Fellow: Cave Canem hosts a week-long workshop/retreat for emerging African American poets. A fellowship lasts for three workshop/retreats, after which, you graduate. (cranbrook institute, mi 2000âÄď2002)
âÄĒNational Merit Scholarship (1992)
Faculty, California Institute of the Arts, valencia, ca Current
Teaching three courses per semester in African American Studies, through the Critical Studies department.
Current courses (syllabi available upon request):
âÄĒâÄúEating Uncle Ben: Using âÄėBlacknessâÄô For Fun And ProfitâÄĚ
âÄĒâÄúWet Black Ink: Contemporary African American PoetsâÄĚ
âÄĒâÄúThe Crazy Negro(es): An Investigation of the Stagolee TraditionâÄĚ
âÄĒâÄúBoom Bap Boom: The Sociocultural Impact of Hip HopâÄĚ
âÄĒâÄúMutating Blues: An Interdisciplinary LaboratoryâÄĚ
âÄĒâÄúRemixing Jemima: Aesthetics and Contemporary MythmakingâÄĚ
Adjunct Faculty, California Institute of the Arts, valencia, ca Fall 2004ÂâÄďSpring 2006
Taught two courses to upper-level bfa students. âÄúBones, Meat & SkinâÄĚ a poetry writing workshop and âÄúRemixing JemimaâÄĚ an investigation of poetics and contemporary mythmaking. For Fall 2005, âÄúRemixing JemimaâÄĚ was a âÄúFoundation-levelâÄĚ course (one of a few courses bfa-1s can choose to satisfy a Humanities requirement). Teaching a Foundation-level course in contemporary Black poetry and a course on poetic recitation for the Theater School for Spring 2006.
Faculty, Community Arts Partnership Summer Academy, eagle rock, ca 2005
Taught high-school students poetry, fiction and non fiction at a two-week program. The class met for six hours a day.
Teaching Assistant, California Institute of the Arts, valencia, ca 2002âÄď2004
Assisted in âÄúPoetry Today,âÄĚ a survey course focused on American poetry from the 19th and 20th centuries.
Workshop Leader, Eastside Saint Paul Boys and Girls Club, saint paul, mn 2000
Led poetry workshop for children, ages 5âÄď16.
âÄĒFear, Some Red Hen Press, Granada Hills, CA
âÄĒâÄúBig Thicket: PastoralâÄĚ âÄĒThe Ringing Ear, University of Georgia Press, 2007
âÄĒâÄúSprung FlungâÄĚ (collaboration with Harryette Mullen)âÄĒSaints of Hysteria, Soft Skull Press, 2007
âÄĒâÄúAnansi Meets Peter Parker at the Taco Bell on LexingtonâÄĚâÄĒDark Matter: Reading the Bones, Aspect Books, 2003 âÄĒ(This anthology won the 2005 World Fantasy Award for anthologies.)
âÄĒâÄúHalfaman Considers What He BorrowedâÄĚâÄĒCave Canem VII, Cave Canem, 2002
âÄĒâÄúBabalooâÄĚâÄĒCity Works 2002, San Diego City College, 2002
âÄĒâÄúrep/resentâÄĚâÄĒBum Rush the Page, Three Rivers Press, 2001
âÄĒâÄúPasadena City Hall, April 29, 1992âÄĚâÄĒRole Call, Third World Press, 2001
âÄĒâÄúSkin&bones Seeks a New RiverâÄĚâÄĒCave Canem VI, Cave Canem, 2001
POETRY: LITERARY JOURNALS/MAGAZINES
âÄĒexcerpts from JungaeyÃ©: A LibrettoâÄĒPerformance Research (forthcoming 2007)
âÄĒâÄúThe Black Automaton in Coalition-Building A Better Mousetrap,âÄĚ âÄúThe American TroubadorâÄĚ and âÄúBeing An (A)Merican(Merkin) Chapter 2: ess you veeâÄĚâÄĒAskew #4 Fall/Winter 2007
âÄĒâÄúCity of Searchlights and Dead CatsâÄĚ and âÄúFloodsong #6: BullfrogâÄôs Liturgy of the EucharistâÄĚâÄĒGulf Coast, 2007
âÄĒâÄúReport on the TransformationâÄ¦âÄĚ, âÄúWhen the Rain is Piss #4âÄĚ, âÄúWhen the Rain is Piss #5âÄĚ, âÄúBreaking Tallboys Open #1âÄĚâÄĒTrepan 5 October 2006
âÄĒâÄĚThe Poet As SettingâÄĚ and âÄúDiscount Ritual in 4 Parts: Bag of AfroâÄĚâÄĒjubilat Eleven, 2006
âÄĒâÄúThicket. 02: Book of the Dead: ImmortalityâÄĚâÄĒCallaloo Vol. 28, Number 4, 2006
âÄĒâÄúPoem with Some Sand and All at OnceâÄĒShaitan!âÄĚâÄĒMangroveâÄĒNumber 14, 2005
âÄĒâÄúHimâÄĚ, âÄúThe Blue Songs of WhalesâÄĚ and âÄúThe Chitlin CircuitâÄĚâÄĒnocturnes, 3, 2004
âÄĒâÄúFakir Floats Above Street LevelâÄĚâÄĒCallaloo ,Vol. 26, Number 2, 2003
âÄĒâÄúJimiattabucket(O Blood)âÄĚâÄĒSunk, Vol. I. i, 2003
âÄĒâÄúThe Crossroads of Convenience StoresâÄĚâÄĒAche, Winter 02, Vol. 002, 2002
âÄĒâÄúBlack Market JamâÄĚâÄĒThe EthiopâÄôs Ear, Winter/Spring, Vol. 1, 1999
âÄĒâÄúSceneâÄĚ and âÄú5 and 1 Coffee Sugar GirlâÄĚâÄĒThe Publication, Vol. IV: v,1999
âÄĒâÄúmoney: the pick-up gameâÄĚâÄĒThe Amistad Vol. 1, 1996
âÄĒâÄúTallahatchie LullaBye, Baby,âÄĚ âÄúSwimchant for Nigger Mer-folkâÄĚ and âÄúThe Cruel, Cruel CityâÄĚâÄĒhttp://www.mipoesias.com/EVIESHOCKLEYISSUE/âÄĒFebruary 2007
âÄĒâÄúAuto,âÄĚ âÄúThe Orange Alert,âÄĚ âÄúAt the Pink TeacupâÄĚ and âÄúShadowboxer on the LookoutâÄĚâÄĒla-lit.com/writers/la-lit-4-doug-kearneyâÄĚâÄĒFebruary 2006
âÄĒâÄúBeautiful/Useful,âÄĚ âÄúThicket. 05: Book of the Dead: The Bleeding PlaceâÄĚ and âÄúThicket. 04: Scene From a River of DustâÄĚâÄĒwww.exittheapple.com/applesauceâÄĒJanuary 2005
âÄĒâÄú[see line 19]âÄĚ and âÄúMessiah Dies For Their SinsâÄĚâÄĒwww.calarts.edu/~writing/samples.htmlâÄĒFall 2004
âÄĒâÄúBring the NoiseâÄĚ: A review and interview with Public EnemyâÄôs Chuck DâÄĒEntertainment Today, Vol. 37, No. 27
âÄĒâÄúWhat Doomed Enterprise?: A Digital Interview with Willie PerdomoâÄĚâÄĒView From the Loft, April/May, 2004
âÄĒâÄúUnder the Influence of Breath: Exploring the Roots of the Spoken Word ResurgenceâÄĚâÄĒSpeakeasy, Vol. II: i, 2003
âÄĒAn Interview with Toi DerricotteâÄĒView From the Loft, January/February 2001
âÄĒâÄúLoni Berry: Through the Briar PatchâÄĚâÄĒThe Publication Vol. IV: vi, 1999
âÄĒâÄúBecky Cohen: Evolution and the Art of StaringâÄĚâÄĒThe Publication, Vol. IV: iv, 1999
âÄĒâÄúErika Torri: The Athenaeum Stands at the Threshold of its 100th YearâÄĚâÄĒThe Publication, Vol. IV: iii, 1999
âÄĒâÄúHarry Sternberg: Words and PicturesâÄĚâÄĒThe Publication, Vol. III: vii, 1998
âÄĒâÄúDouble Vision: Wu Han and David FinckelâÄôs Plans for San DiegoâÄĚâÄĒThe Publication, Vol. III vi, 1998
âÄĒâÄúWilliam Glen Crooks: Talking in PicturesâÄĚâÄĒThe Publication, Vol. III: iii, 1998
âÄĒDramaturg for âÄúEcho::systemÂâÄďThe Desert,âÄĚ by Grisha Coleman. Premiered September 2007 in Pittsburgh, PA
âÄĒLibrettist for Mordake: A Triptych, with score by Erling Wold. Upcoming.
âÄĒLyricist for Sucktion, with score by Anne LeBaron. Premiered May 2006.
âÄĒServed as assistant director for Wet, with libretto by Terese Svoboda and score by Anne LeBaron. The production mounted at REDCAT in Los Angeles, CAâÄĒDecember 2005.
âÄĒWrote/performed text for âÄúTetraodontiformalismâÄĚ a dance piece selected for the 2005 Cal Arts Spring Dance Concert. Choreographed by Katiana Rush.âÄĒApril 2005.
âÄĒWrote the âÄúbattleâÄĚ libretto for Six Minutes, a play by Eisa Davis, commissioned by the Hip Hop Theatre Festival and presented at Aaron Davis Hall in Harlem, NYâÄďNovember 2004.
âÄĒCo-wrote the libretto for Le Point Vierge a collaborative opera with Melissa Weaver and John Duykers; performed at California Institute of the Arts, Valencia, CAâÄĒApril 2004
âÄĒâÄú2nd CornerâÄĚ and âÄúBumper BlisterâÄĚâÄĒGettinâÄô To It, Done Been, 2006
âÄĒâÄúCalArts 35th AnniversaryâÄĚ video (text and voiceover)âÄĒCarol Anne Klonarides, producer 2005
âÄĒâÄúCrossroads of Convenience StoresâÄĚ and âÄúHip Hop HaikuâÄĚâÄĒRefugeography, Thien-bao Thuc Phi 2005
âÄĒâÄúPB&JâÄĚâÄĒNazirahâÄôs Playhouse, Nazirah P. Mickey, Speakeasy Records, 2002
âÄĒâÄúMonkey on My Back,âÄĚ âÄúKasperâÄĚ and âÄúrep/resentâÄĚâÄĒTest Type Trio, Test Type Trio, 2002
WORKSHOPS & LECTURES
âÄĒPoets in the Schools: workshop leader, Camino Nuevo Charter High School,
Los Angeles, CAâÄĒFebruaryâÄďMarch 2007
âÄĒThe Talking Page: lecturer, Germantown Poetry Festival, Philadelphia, PAâÄĒApril 2007
âÄĒThe Talking Page: lecturer, Carnegie Mellon University, Pittsburgh, PAâÄĒMarch 2007
âÄĒâÄĚPoets in the SchoolsâÄĚ: workshop leader, Camino Nuevo Charter High School, Los Angeles, CAâÄĒNovemberâÄďDecember 2005
âÄĒâÄĚApplying Poetic TermsâÄĚ: lecturer, California Institute of the Arts, Valencia, CAâÄĒNovember 2003
âÄĒâÄĚConcrete PoetryâÄĚ: lecturer, San Jose City College, San Jose, CAâÄĒFebruary 2003
âÄĒâÄĚDyamsay Writing WorkshopâÄĚ: co-leader, Santa Monica, CAâÄĒ2002âÄď2003
âÄĒâÄúCollaborative PoetryâÄĚ Workshop: leader, College of William and Mary, Williamsburg, VAâÄĒNovember 2002
âÄĒâÄúCollaborative PoetryâÄĚ Workshop: leader, Cave Canem 2002, Cranbrook, MIâÄĒJune 2002
âÄĒâÄĚPersona Poetry/The Dramatic Monologue:âÄĚ: lecturer, Chula Vista High School, Chula Vista, CA âÄĒMay 2002
âÄĒâÄĚThe Bop Form:âÄĚ: lecturer, San Diego City College, San Diego, CAâÄĒMarch 2002
âÄĒâÄĚPersona Poetry/The Dramatic Monologue:âÄĚ: lecturer, Pittsburgh High School of Creative and Performing Arts, Pittsburgh, PAâÄĒFebruary 2002
âÄĒâÄĚWriterzBlock WorkshopâÄĚ: co-leader, San Diego, CAâÄĒ1998âÄď1999
âÄĒâÄúThe Other in Contemporary Art Discourse: Owning, Speaking and Being âÄúThe OtherâÄĚ (panelist) California Institute of the Arts, Valencia, CAâÄĒSeptember 2007
âÄĒâÄúOuter WorkingsâÄĚ (panelist) Cave Canem Tenth Anniversary, New York, NYâÄĒOctober 2006
âÄĒâÄúWriters and WarâÄĚ (panelist) San Diego City College, San Diego, CAâÄĒMay 2006
âÄĒâÄúLiterary CitizensâÄĚ (panelist) AWP, Austin, TXâÄĒMarch 2006
âÄĒâÄĚMaking Art in War TimeâÄĚ (panelist) Betalevel, Los Angeles, CAâÄĒJanuary 2006
âÄĒâÄúLover and the Beloved in Sufi PoetryâÄĚ (moderator) California Institute of the Arts, Valencia, CAâÄĒOctober 2005
âÄĒâÄúLetters and NumbersâÄĚ (moderator) noulipo: Experimental Writers Series, Los Angeles, CAâÄĒOctober 2005
âÄĒâÄúMore Than Little Green Men: People of Color in Speculative FictionâÄĚ (panelist) San Diego Comic-Con International, San Diego, CAâÄĒJuly 2004
READINGS/PERFORMANCES: FEATURED POET (selected)
âÄĒLast Call, Valencia, CAâÄĒSeptember 2007
âÄĒMoonday, Pacific Palisades, CAâÄĒSeptember 2007
âÄĒThe Ugly Mugg, Orange, CAâÄĒSeptember 2007
âÄĒMetropolis Bookstore, Los Angeles, CAâÄĒAugust 2007
âÄĒSkylight Books, Los Angeles, CAâÄĒJuly 2007
âÄĒCafÃ© Aroma, Idyllwild, CAâÄĒJuly 2007
âÄĒBowery Poetry Club, New York, NYâÄĒMay 2007
âÄĒCornelia Street CafÃ©, New York, NYâÄĒMay 2007
âÄĒLA Times Festival of Books, Los Angeles, CAâÄĒApril 2007
âÄĒGermantown Poetry Festival, Philadelphia, PAâÄĒApril 2007
âÄĒMoles (Not Molar), Philadelphia, PAâÄĒApril 2007
âÄĒNew American Poets, The New School, New York, NYâÄĒApril 2007
âÄĒShadow Lounge, Pittsburgh, PAâÄĒMarch 2007
âÄĒCarnegie Mellon University, Pittsburgh, PAâÄĒMarch 2007
âÄĒUniversity of Pittsburgh, Pittsburgh, PAâÄĒMarch 2007
âÄĒPoetry at the Ruskin, Los Angeles, CAâÄĒNovember 2006
âÄĒSmall Press Traffic, San Francisco, CAâÄĒNovember 2006
âÄĒSan Diego City College, San Diego, CAâÄĒMay 2006
âÄĒCalArts MFA Writing Alumni Showcase, High Energy Constructs, Los Angeles, CAâÄĒMay 2006
âÄĒUniversity of WisconsinâÄďMadison, Madison, WIâÄĒApril 2006
âÄĒâÄĚDeep Like the Rivers: African-American Poets of Los Angeles,âÄĚ The Clark Library, Los Angeles, CAâÄĒMarch 2006
âÄĒPoetry @ SMH: Frequency, The Studio Museum in Harlem, New York, NYâÄĒFebruary 2006
âÄĒâÄúHalf Hour from HomeâÄĚ California Institute of the Arts, Los Angeles, CAâÄĒOctober 2005
âÄĒBSUâÄąPoetry Slam, Johns Hopkins University, Baltimore, MDâÄĒFebruary 2005
âÄĒ3Wheeze beeze likes the Remix2, The Bowery Poetry Club, New York, NYâÄĒNovember 2004
âÄĒEquilibrium, The Loft Literary Center, Minneapolis, MNâÄĒSeptember 2004
âÄĒPomona College, Pomona, CAâÄĒApril 2004
âÄĒExhale, University of Florida, Gainesville, FLâÄĒNovember 2003
âÄĒA Taste of Art Gallery, New York, NYâÄĒNovember 2003
âÄĒThe World Stage, Los Angeles, CAâÄĒOctober 2003
âÄĒBlue/Print, California Institute of the Arts, CAâÄĒSeptember 2003
âÄĒSan Jose City College, San Jose, CAâÄĒFebruary 2003
âÄĒCollege of William and Mary, Williamsburg, VA November 2002
âÄĒFluid Movements, The Public Theatre, New York, NYâÄĒAugust 2002
âÄĒSlam Nationals, Minneapolis, MNâÄĒAugust 2002
âÄĒSa-I-Gu, Locus Performance Space, San Francisco, CAâÄĒApril 2002
âÄĒDos Mil Espacios, San Diego City College, San Diego, CAâÄĒApril 2002
âÄĒSun Crumbs Poetry Series, Pittsburgh, PAâÄĒFebruary 2002
âÄĒSingers at Daybreak, First Ave., Minneapolis, MNâÄĒAugust 2001
âÄĒRhapsody In ColorâÄĒan exhibition of art from the Russian Avant Garde Movement of the Early 20th Century. I co-wrote and performed in a multi-media, performance poetry sequence. Commissioned by and mounted at the Weisman Museum of Modern Art, Minneapolis, MNâÄĒFebruary, 2001
âÄĒâÄúBeautiful StruggleâÄĚ KPFK (radio): guest, Los Angeles, CAâÄĒSeptember 2007
âÄĒâÄúProsodyâÄĚ (podcast): guest, Pittsburgh, PAâÄĒfeed://wyep.org/podcasts/prosody.xmlâÄĒMay 2007
âÄĒâÄúLA LitâÄĚ (podcast): guest, Los Angeles, CAâÄĒ<a href=âÄĚla-lit.com/writers/la-lit-4-doug-kearney/âÄĚ</a>âÄĒOctober 2005<br /> âÄĒâÄúBrazos WriterâÄôs TalkâÄĚ KEOS (radio): guest, Bryant, TXâÄĒMay 2005<br /> âÄĒâÄúConversations with Al McFarlaneâÄĚ KFAI (radio): guest, Minneapolis, MNâÄĒSeptember 2004<br /> âÄĒâÄúIllfonixâÄĚ KSDS (radio): guest, San Diego, CAâÄĒOctober 2002<br /><br /><br /><br />
// TEXT“The Black Automaton in Tag” poems
// TEXT + NOTES“The City Vs. John Henry” #1âÄď#4
// TEXT + AUDIO“Tallahatchie LullaBye, Baby”
“The Cruel, Cruel City”
“Swimchant For Nigger Mer-Folk”
“Eric Visits His Father”
“Divination Procedure for the Modern Day Sucker MC: Answers for Four”
“Divination Procedure for the Modern Day Sucker MC: Answers for Nine”
“The City Vs. John Henry”
// VIDEO“The Chitlin Circuit” @ Spelman College, 2007
Selections from The Germantown Poetry Festival, 2007
“The Chitlin Circuit,” “Family Room” and “Tallahatchie Lullabye, Baby” @ Pharmaka in Downtown L.A.
//LIKE WHAT YOU SEE + HEAR?Booking Packet (2.5 mb PDF)
// BIOI am an L.A.-based poet, performer, librettist and teacher. My writing has appeared in a number of journals and anthologies. I’ve been a featured performer across the country and on the radio. My libretto work has earned collaborations with a number of great artists in experimental and traditional theater and opera. One such collaboration, a sci-fi concert theater piece called Sucktion earned composer Anne LeBaron and me a MAP Fund grant.
I’m a Cave Canem graduate and received an MFA from CalArts where I currently teach African American Studies.
My first full-length collection, Fear, Some (Red Hen Press) is available. My second full-length collection of poems, The Black Automaton, is Catherine Wagner’s National Poetry Series selection and will be published by Fence Books in fall, 2009. I was honored to receive a Whiting Writers Award in 2008.
The link below will take you to a downloadable pdf version of my CV. I’ll update it every month or so.
Dialogue between Amaud Jamaul Johnson + Me (text only)
Podcast of Interview on Jan Beatty’s Prosody Radio Show
Podcast of Interview on LA Lit