A collaboration of visual art and poetry inspired by Funkadelic’s classic albums Standing on the Verge of Getting It On and Maggot Brain. Adrian Matejka's (Pulitzer Prize finalist in poetry for The Big Smoke) new book Standing On the Verge & Maggot Brain is a chorus of poems and visual art that is psychedelic and bright, full of quarter notes disguised as words. The poems bend like a solo bends the big ideas of Funkadelic’s glitter and unrepentant funk. The colletion also bends the design of books themselves. Standing On the Verge & Maggot Brain is more accurately described as a double-chapbook, featuring two front covers and no back cover. Essentially, it is a two-in-one book. For the Standing On the Verge section of the two chaps, sculptor and artist Kevin Neireiter translates music into stained glass graffiti in honor of the landmark record. For Maggot Brain, Nicholas Galanin’s (also front man of the Sub Pop band Ya Tseen) art creates musical compositions from monochromatics in response to the quintessential album. Matejka's collection of poems is synesthesia for the ear and alchemy for the eyes and heart. Standing On the Verge & Maggot Brain is both a tribute to the iconic band Funkadelic and deep introspection of the contrasts in poet Matejka's celebrant hips and maggot brain. Just as the album Standing on the Verge of Getting It On is a celebration of energy and action, Maggot Brain is a place of deep sorrow. Matejka explores both the light and dark within the original visual art by Kevin Neireiter and Nicholas Galanin, reflecting the poet's radiances and shadows.

On the morning of 4 July 1910, thousands of boxing fans stormed a newly built stadium in Reno, Nevada, to witness an epic showdown. Jack Johnson, the world’s first Black heavyweight champion—and most infamous athlete in the world because of his race—was paired against Jim Jeffries, a former heavyweight champion then heralded as the “great white hope.” It was the height of the Jim Crow era, and spectators were eager for Jeffries to restore the racial hierarchy that Johnson had pummelled with his quick fists. Transporting readers directly into the ring, artist Youssef Daoudi and poet Adrian Matejka intersperse dramatic boxing action with vivid flashbacks to reveal how Johnson, the self-educated son of formerly enslaved parents, reached the pinnacle of sport—all while facing down a racist justice system. Through a combination of breathtaking illustrations and striking verse, Last on His Feet honours a contentious civil rights figure who has for more than a century been denied his proper due.

Using musical allusion and metaphor, juxtaposing history and autobiography, Matejka navigates a triracial identity. In these poems, having too many heritages means having no heritage at all. As a result, cultural identifiers--be they afros, war paint, or William Shatner--take the place of identity. Vibrant narrative lyrics use image as riff, syllable as note, to improvise on a personal history severed from tradition.

Betwixt and Between

Miscegenation's capitol
is the mule. Not quite horse,
almost donkey. No useful
erection to speak of.
In any unnatural concoction,
somebody's got to take
the blame. Freud would say
credit the mother if props
are necessary.
Mulattos
are human mules--half
black, most times more
than half white--misogynous
on a good day. All the while,
impotent between tribes.
Blame: gift of the exotic,
like Hendrix opening
for the Monkees, or Othello
key holed by Iago. Blessed
be he with the hybrid vigor
of melanin, arrested between
the sun and the sun.

"Reading Adrian Matejka's amazing debut, I was left with the feeling that American Poetry was at last beginning to catch up with early twenty-first century American life. He has written the first serious songs from a world that's about to make itself felt and known."--Cornelius Eady

A finalist for both the Pulitzer Prize and the National Book Award in Poetry--a collection that examines the myth and history of the prizefighter Jack Johnson
The legendary Jack Johnson (1878-1946) was a true American creation. The child of emancipated slaves, he overcame the violent segregationism of Jim Crow, challenging white boxers--and white America--to become the first African-American heavyweight world champion. "The Big Smoke," Adrian Matejka's third work of poetry, follows the fighter's journey from poverty to the most coveted title in sports through the multi-layered voices of Johnson and the white women he brazenly loved. Matejka's book is part historic reclamation and part interrogation of Johnson's complicated legacy, one that often misremembers the magnetic man behind the myth.

Selected for the 2008 National Poetry Series by Kevin Young
The poems in Adrian Matejka's second collection, "Mixology," shapeshift through the myriad meanings of "mixing" to explore and explode ideas of race, skin politics, appropriation, and cultural identity. Whether the focus of the individual poems is musical, digital, or historical, the otherness implicit in being of more than one racial background guides Matejka's work to the inevitable conclusion that all things-no matter how disparate-are parts of the whole.