Moten served as a member of the Board of Managing Editors of American Quarterly and has been a member of the Editorial Collectives of Social Text and Callaloo, and of the Editorial Board of South Atlantic Quarterly. He is also co-founder and co-publisher (with Joseph Donahue) of a small literary press called Three Count Pour.
List of publications
Books
consent
not to be a single being: Essays 2002-2016, Duke
University Press, forthcoming.
The
Service Porch, Letter Machine Editions, forthcoming
2016.
The
Little Edges, Wesleyan University Press, 2015.
The
Feel Trio, Letter Machine Editions, 2014.
The
Undercommons: Fugitive Planning and Black Study (with
Stefano Harney), Minor
Compositions/Autonomedia, 2013.
B
Jenkins, Duke University Press, 2010.
I
ran from it and was still in it. (with collages by Theodore Harris), Cusp Books, 2007.
Hughson’s
Tavern, Leon Works, 2008.
In
the Break: The Aesthetics of the Black Radical Tradition,
University of Minnesota Press, 2003.
Poems
(with
Jim Behrle), Pressed Wafer, 2002
Arkansas,
Pressed Wafer, 2000.
Co-Edited Anthologies and Journal
Issues
“911—A Public Emergency?”
(co-edited with Brent Edwards, Stefano Harney,
Randy Martin, Timothy Mitchell
and Ella Shohat), Social Text 72,
Fall 2002.
“Staging Sound: Feminism,
Re/Production and Performance,” (co-edited with
Jennifer Fink and June Reich)Women and Performance 9:2, 1997.
Essays
“Jurisgenerative Grammar,” George
E. Lewis & Benjamin Piekut, ed. The
Oxford
Handbook
of Critical Improvisation Studies, Oxford University Press,
forthcoming, 2015.
“Ex-Foliation (Reading in the
Flesh),” Small Axe 19:1 (46),
forthcoming 2015.
“On Poetry and the Turntable,”
(with Kevin Beasley). Ralph Lemon, ed. On
Value,
Triple Canopy, 2015, 123-47.
“Mikey The Rebelator” (co-written
with Stefano Harney), Performance
Research 20:4, Fall 2015, 141-45.
“Michael Brown” (co-written with
Stefano Harney), boundary2 42:4, Fall
2015, 81-87.
“Some Extrasubtitles for Wildness,” Gregor Jansen, et. al., ed. Wu Tsang: Not in My
Language,
Köln, Verlag der Buchhandlung Walther König, 2015, 160-62.
“To Feel, To Feel More, To Feel
More Than,” Rose Bouthiller & Megan Lynch
Reich, with Elena Harvey Collins,
ed. How to Remain Human, Museum of
Contemporary Art, Cleveland,
2015, 59-62.
“History Does Not Repeat Itself,
but It Does Rhyme,” Annet Busch & Anselm
Franke, ed. After Year Zero: Geographies of Collaboration, University of
Chicago
Press/Museum of Modern Art,
Warsaw, 2015, 200-04.
“Blackness and Poetry,” Evening Will Come 55, July 2015,
Humanities and the World, July
23, 2015.
“Remind,” Stephen Hoban, Yasmil
Raymond & Kelly Kivland, ed. Thomas
Hirschhorn, Gramsci Monument. Walther König/Dia Art Foundation, 2015, 326-28.
“The Touring Machine (Flesh
Thought Inside Out), Brenna Bhandar & Jonathan
Goldberg-Hiller, ed. Plastic Materialities: Politics, Legality
and Metamorphosis in
the
Work of Catherine Malabou, Duke University Press, 2015,
265-86.
“Amuse-bouche,”
Claudia La Rocco, ed. Dancers,
Buildings and People in the Streets:
“Poetics (of Blackness),” Joshua
Marie Wilkinson, ed. The Volta Book of
Poets, Sidebrow Books, 2015, 217.
“Al-Khwāriddim, or Savoir Faire
is Everywhere” (co-written with Stefano Harney),” Really Useful Knowledge, Museo Nacional Centro de Arte Reina Sofia,
2014.185-90.
“Notes on Passage (The New
International of Sovereign Feelings),” Palimpsest
3.1, 2014, 51-74.
“Die äußere Welt (wenn ein Fremder erscheint),”
Ulrich Baer & Amir Eshel, ed. Hannah
Arendt zwischen den Diziplinen, Wallstein Verlag, 2014, 253-69.
“Nobody, Everybody (Prayer,
Prepare, Repair),” Harold Mendez: but I
sound better since you cut my throat, Three Walls, Chicago, 2014.
“The Sustain,” Bombay Gin 40:1, Spring 2014, 66-68.
“An Ecology of (Eloquent)
Things,” A Gathering of the Tribes 14,
2013, 57-58.
“Blackness and Nothingness
(Mysticism in the Flesh),” South Atlantic
Quarterly 112:4, Fall 2013, 737-80.
“The Subprime and the Beautiful,”
African Identities 11:2, 2013,
237-45.
“Un respire in affanno: La
fatticità della blackness,” Miguel Angel Mellino, ed. Fanon
postcoloniale: I dannati della terra oggi, Ombre Corte, 2013, 135-45.
“Nowhere, Everywhere,” Theaster Gates: My Labor Is My Protest,
White Cube, 2012, 70-76.
“Liner Notes for Lick Piece,” Valerie Cassel Oliver, ed. Ben Patterson: Born in the State of
FLUX/us,
Contemporary Arts Museum Houston, 2012, 212-20.
“Necessity, Immensity and Crisis:
Many Edges/Seeing Things,” Floor,
Issue 1,
“Politics Surrounded” (co-written
with Stefano Harney), South Atlantic
Quarterly 110:4, Fall 2011, 985-88.
“Blackness and Governance”
(co-written with Stefano Harney), Patricia Ticineto Clough and Craig Willse,
ed. After Foucault: Life, Death, and
Biopolitics, Duke University Press, 2011, 351-61.
“It’s Not That I Want To Say,”
Joshua Marie Wilkinson, ed. Poets on
Teaching: A Sourcebook, University of Iowa Press, 2010, 58.
“Debt and Study” (co-written with
Stefano Harney), e-flux 14, March
2010
“Sonata Quasi Una Fantasia,” Hambone
19, Fall 2009, 110-133.
“Black Op,” PMLA 123:5, October 2008, 1743-47.
“The Case of Blackness,” Criticism 50:2, Spring 2008, 177-218;
reprinted in Nicholas Mirzoeff, The
Visual Culture Reader, Third Edition, Routledge, 2012, 466-494.
“The New International of
Rhythmic Feeling/s,” Sylvia Mieszkowski, Joy Smith, and Marijke de Valck, ed. Aural Cultures, Rodopi, 2007, 31-56.
“Gestural Critique of Judgment,”
Ulla Haselstein & Klaus Benesch, ed., The
Power and Politics of the Aesthetic in American Culture, Publications of
the Bavarian American Academy, Volume 7, Universitätsverlag Winter, 2007,
91-111.
“Democracy,” Bruce Burgett &
Glenn Hendler, ed., Keywords for American
Cultural Studies, New York University Press, 2007, 76-79.
“Taste Dissonance Flavor Escape” Women and Performance: A Journal of Feminist
Theory 17:2, July 2007, 217-246.
“Uplift and Criminality,” Alys
Eve Weinbaum & Susan Gillman, ed., Next
to the Color
Line:
Gender, Sexuality and W. E. B. Du Bois,
University of Minnesota Press, 2007, 317-49.“The University and the
Undercommons: Seven Theses” (co-written with Stefano
Harney), Social Text 79, Spring 2004, 101-15; Reprinted, Edu-Factory
Collective, ed. Toward A Global
Autonomous University: Cognitive Labor, The Production Of Knowledge And Exodus
From The Education Factory, Autonomedia, 2009; Translated as “A
Universidade E S Undercommons,” E-Misférica 11:1 The Decolonial Gesture,
Spring 2014, Http://Hemi.Nyu.Edu/Hemi/En/Emisferica-111-The-Decolonial-Gesture/Harney
and as “L’università E Gli Undercommons”
In Edu-Factory Collective, Ed. L’università
Globale: Il Nuovo Mercato Del Sapere, Manifestolibri, 2008.
“The Phonographic Mise-en-Scéne,” Cambridge Opera Journal 16:3, 2004,
269-81.
“Knowledge of Freedom” in CR: The New Centennial Review 4:2, Fall
2004, 269-310.
“Not in Between: Lyric Painting,
Visual History and the Postcolonial Future,” The Drama Review 47:1, Spring 2003, 127-48.
“Magic of Objects,” Callaloo 26:1, Spring 2003, 109-111.
“The New International of Decent Feelings,” Social Text 72, Fall 2002, 189-99.
“Ensemble and Improvisation,” Hambone 16, Fall 2002, 194-215.
“Black Mo’nin’ in the Sound of
the Photograph,” David Kazanjian and David Eng, ed. Loss, University of California Press, 2002, 59-76.
“Return of the Oppressed”
(co-written with B Jenkins), Lauren Berlant and Lisa Duggan, ed. Our Monica, Ourselves, New York
University Press, 2001, 137-55.
“Voices/Forces: Migration,
Surplus and the Black Avant-garde,” Brandon LaBelle and Christof Migone, eds. Writing Aloud: The Sonics of Language,
Errant Bodies Press, 2001, 47-59.
“Interpolation and
Interpellation,” Allen Weiss, ed., Experimental
Sound and Radio, The MIT Press, 2001, 116-24.
“The Academic Speed-up”
(co-written with Stefano Harney), Workplace:
the Journal for Academic Labor 2:2, November 1999 (http://www.workplace-gsc.com).
“Doing Academic Work” (co-written
with Stefano Harney), Randy Martin, ed. Chalk
Lines: The Politics of Work in the Managed University, Duke University
Press, 1999, 154-80.
“A(bridge(d: Acting Out with the
Cecil Taylor Unit,” Lawrence Rickels, ed., Acting
Out In Groups, The University of Minnesota Press, 1999, 69-108.
“Bridge and One,” May Joseph and
Jennifer Fink, eds. Performing Hybridity,
University of Minnesota Press, 1999, 229-46.
“Introduction” and “The Dark Lady
and the Sexual Cut,” Women and
Performance 9: 2, 1997, 9-10, 143-161.
“Sound in Florescence,” Adalaide
Morris, ed. Sound States: Innovative
Poetics and Acoustical Technologies, University of North Carolina Press,
1997, 213-34.
“Tragedy,
Elegy, Improvisation: Voices of Baraka II,” Semiotics
94: Proceedings of the Semiotic
Society of America Nineteenth Annual Meeting, Peter Lang, 1995, 431-49.
“Stanza, Record, Frame:
Temporality, Technics and Artifact in Baraka, Eisenstein and Shakespeare,” Semiotics 93: Proceedings of the Semiotic
Society of America Eighteenth Annual Meeting, Peter Lang, 1995, 268-78.
“Nathaniel Mackey Overheard,” Proliferations 2, November 1994, 23-27.
Poems
“Whatnot to the Music,” in Ralph Lemon, ed. Passage
of a Rumor, published in Triple
“william parker,” “Modern
language day," and “we live after a river,” Aldon Lynn
Nielsen and Lauri Ramey, ed. What I Say: Innovative Poetry by Black
Writers in America, University of Alabama Press, 2015, 174-77.
“2.8 [Blackness is Generativity]”
Lucy Clark, et. al., ed. February: An
Anthology, February Press, 2015.
“sweet nancy wilson saved frank
ramsay.” Fred Wah & Amy De’Ath, ed. Toward.
Some
Air. Banff Center Press, 2015, 113-14.
AJ, this is for underneath your
beautiful proof of concept” and “RA, this echo of your gignity,” in Joshua
Marie Wilkinson, ed. The Volta Book of
Poets, Portland: Sidebrow Books, 2015, 219, 221.
“that’s who,” The Broome Street Review 6, Summer 2014.
“wait for it” and “celebrate,” American Quarterly 66:2, June 2014, 421.
“The gramsci monument,” Social Text 118, Spring 2014, 117-18;
reprinted in Fred Wah & Amy De’Ath, ed. Toward.
Some Air. Banff Center Press, 2015, 115.
“eve is a texture, dave is
centering.” Finery: An Online Journal
from Birds of Lace,
“Grad Grind…” reprinted in Joshua
Marie Wilkinson, ed. The Volta Book of
Poets, Portland: Sidebrow Books, 2015, 222.
reprinted in Joshua Marie
Wilkinson, ed. The Volta Book of Poets,
Portland: Sidebrow Books, 2015, 220.
“,” “elizabeth
cotten/nahum chandler,” and “frank ramsay/nancy wilson,”
Charles Henry Rowell, ed. Angles of Ascent: A Norton Anthology of
Contemporary African American Poetry, W. W. Norton & Company, 2013,
490-95.
“test,” Ploughshares 39:1, Spring 2013, 95-99.
“Jaki Byard, Blues for Smoke,” Bennett Simpson, ed. Blues for Smoke, Prestel, 2012, 1-5.
“Hard Enough to Enjoy,” (with
images by Ralph Lemon), Museum of Modern Art
Collectible, 2012.
“From ‘block chapel,’” Callaloo 35:3, Fall 2012, 567-77.
“From ‘block chapel,’” Hambone 20, Fall 2012, 250-60.
“From ‘fortrd.fortrn,’” Denver Quarterly, 46:4, July 2012,
79-81.
“come on, get it 9.2-11,” With + Stand 5, 2011, 40-45.
“come on, get it 6-9.1,” Amerarcana 2, Winter 2011, 28-34.
“come on, get it 1-5,” The Recluse 6, Spring 2010, 21-25.
“From ‘block chapel,’” A Public Space 11, Spring 2010, 99.
“Rock the party, fuck the
smackdown.”, “what y’all need,” “the madness of the
worker,” “the salve trade” and
“walter benjamin/julian boyd,” Hambone 18,
Fall 2006, 142-48.
“tony oxley,” “steve harney’s
early uncollected city,” “the club” and “njeeri wa
“bessie smith,” “other dimensions
in music, ghostcatching,” “offtime +
qualify,” “six
four or trades,” and johnny
cash/rosetta tharpe,” Callaloo 27: 4,
Fall 2004, 967-74; “johnny cash/rosetta tharpe,” reprinted Charles Henry
Rowell, ed. Angles of Ascent: A Norton
Anthology of Contemporary African American Poetry, W. W. Norton &
Company, 2013, 489-90; “bessie smith,” reprinted Aldon Lynn Nielsen and Lauri
Ramey, ed. What I Say: Innovative Poetry
by Black Writers in America, University of Alabama Press, 2015, 171.
“something to say,” maroons,”
pre-black (jazz,” “shock” and “where the blues began,”
Blue/Print
(a
cd presented by nocturnes (re)view
and the MFA Writing Program at California Institute of the Arts), Spring 2004.
“Elegy for Performances,” Matrix 3, Spring 2003, 4-7.
“curtis mayfield,” Shuffleboil 3, Winter 2003, 40-41.
“henry dumas,” “adrian piper,”
“sleater-kinney,” and “murray jackson,” nocturnes
2,
2002, 196-99 “henry dumas” and
“murray jackson,”” reprinted Aldon Lynn
Nielsen and Lauri Ramey, ed. What I Say: Innovative Poetry by Black
Writers in
America,
University of Alabama Press, 2015, 172-73.
“gary fisher,” “graphaphone
remember,” and “robert farris thompson,” The
World 58,
2002, 36-43.
“piet mondrian,” The Poetry Project Newsletter 189,
April/May 2002, 4-5.
“jazz,” “miles davis,” and “gayl
jones,” Callaloo 25: 1, Winter 2002,
94-96; “gayl jones,”
reprinted, Charles Henry Rowell,
ed. Angles of Ascent: A Norton Anthology
of Contemporary African American Poetry, W. W. Norton & Company, 2013,
488-89.
“james baldwin,” “alice key,” and
“cecil taylor,” PO-EP
“9 11,” Can We Have Our Ball Back? 8.1, October, 2001.
“15 (billie holiday),” “101,” “1.
‘the stylistics erupt boplicity’: Lawrence D. ‘Butch’
Morris, cond.,” and “on grappa,
over shoulder, acknowledgements,” Five
Fingers
Review, 2001, 87-92.
“bogard + icon,” “general baker,”
“eric dolphy,” “fred hopkins” and “b jenkins,”
Callaloo
23: 4, Fall 2000, 1177-82.
“here go that hole in the
street,” Can We Have Our Ball Back? 2,
October 2000
“Arkansas,” Grand Street 61, Summer 1997, 136-37.
“william corbett,” Lift 15 & 16, 1994, 90.
“Wave,” “Building, Song and Flower,” “Me With
You,” “Same Change Autumn
Leaves,” “The Petals,” and
“Steve,” Lift 12, May 1993, 17-19.
Interviews
& Roundtables
“On Poetry and the
Turntable” (with Kevin Beasley) in Ralph Lemon, ed. Passage of a
“An Interview with
Fred Moten, Parts I & II,” Literary
Hub, August 5 & 6, 2015,
“’Poetry begins with
the willingness to subordinate whatever the hell it is that you
have to say,’” (with
Housten Donham), Open House, July 20,
2015,
“National Book Award,
Finalist Interview,” (with Sandra Lim), November 13, 2014,
“The Alternative is
at Hand,” (with Stefano Harney) Chronic/Chimurenga,
August
2013, 18-21.
“Studying Through the
Undercommons: Stefano Harney & Fred Moten—
“Queer Studies,
Materialism and Crisis: A Roundtable Discussion” (with Christina
Crosby, Lisa Duggan,
Roderick Ferguson, Kevin Floyd, Miranda Joseph, Heather Love, Robert McRuer,
Tavia Nyong’o, Lisa Rofel, Jordana Rosenberg, Gayle Salamon, Dean Spade and Amy
Villarejo), GLQ 18:1, Winter 2012,
127-47.
“Interview” (with
Matthew Frye Jacobson), Historian’s Eye,
March 6, 2012,
“Intervju sa Fredom Motenom (with Branislav Jakovljevic),” trans. Slobadanka Glisic
in Peter Klepec &
Petat Bojanic, ed. Sta Je, U Stvari,
Radikalno?, Narodna
Biblioteka Srbjije,
2009, 333-355.
“African American Experimental
Poetry Forum,” (with Renee Gladman, Douglas
Kearney, John Keene, Dawn Lundy
Martin, Mendi Lewis Obadike, Rowan Ricardo Phillips and Tyrone Williams), Jubilat 16, Summer 2009, 115-54.
“On Study: A Roundtable” (with
Marc Bousquet and Stefano Harney), Polygraph
21,
2009, 169-85.
“The Insurgency of Objects”: A
Conversation with Fred Moten (with James Leo
Cahill and Rachel Leah Thompson),
Octopus, Volume 1, Fall 2005, 45-66.
“’Words Don’t Go There’: An
Interview” (with Charles Rowell), Callaloo,
Volume 27:
4, Fall 2004, 953-66.
“Interview” (with Ange Mlinko), Poetry Project Newsletter 181,
October/November
2000, 8-10.
Reviews
“X: The Problem of the Negro as a Problem for Thought by Nahum
Dimitri Chandler,” Artforum 52:4,
December 2013, 96.
“Rough Americana by DJ Mutamassik + Morgan Craft,” Journal of the Society for American Music
2:2, May 2008, 283-87.
“tripwire 5: Expanding the Repertoire: Continuity & Change in
African-American Writing,” The Poetry
Project Newsletter 188, February/March 2002, 21-2.
“Electric Animal by Akira Mizuta Lippit,” Modern Language Notes 115: 5, December 2000, 1171-78.
“Scenes of Subjection by Saidiya V. Hartman & Soul: Black Power, Politics and Pleasure,
ed. by Monique Guillory and Richard C. Green,” The Drama Review 43: 4, Winter 1999, 169-74.
Blogs
Harriet The Blog: The
Poetry Foundation, January-February, 2010.
http://www.poetryfoundation.org/harriet/author/fmoten/
Performances,
Performance Texts & Screenwriting
“Miss Communication and Mister Re: (Performance Notes),” (with Wu Tsang),
Greene Exhibitions, Culver City,
CA., June 12, 2014; a film version directed by Wu Tsang was included in the
exhibition Double Life at the
Contemporary Arts Museum, Houston, December 13, 2014-March 13, 2015;
performance notes published in Gerald Maa, ed. Invito/ Spectatore, Greene Exhibitions, 2015; excerpts from
performance text publiushed in Gregor Jansen, et. al., ed. Wu Tsang: Not in My Language, Köln, Verlag der Buchhandlung Walther
König, 2015, 160-62.
“Hand Up to Your Ear” in
Ultra-red, ed. Protocols for the the
Sound of
Freedom/Arika A survey is a process of listening, 2012 Whitney Biennial, 22-25.
“Voiceover: DeShotten 1:0” dir.
Arthur Jafa, 2007,
