- I was born and raised in Baton Rouge, Louisiana, so I use the word "y'all" a lot. And not ironically.
- I've also lived in Northern California (where I picked up "hella") and Appalachian Ohio. I currently live in Minneapolis.
- My names mean "lover of mankind" and "miracle child". (No pressure there whatsoever.)
The Other Version: I was born and raised in Baton Rouge, Louisiana, so I use the word y'all. A lot. And not ironically. After college, I worked several odd jobs until becoming a teacher and tutor. I was privileged to teach English to really witty tenth graders, facilitate Reading Intervention for really bold ninth graders, and explain why the answer wasn't always C to ACT-and-SAT-taking twelfth graders. However, I became disenchanted with an educational system that seemed to value dollars and cents more than common sense, so I decided to retire and return to writing. Translation: I was "let go." (I'm at work on a television pilot inspired by the people I met as a teacher in public charter schools.) And I'm not angry at you (unless I should be); that's just my RBF you're seeing.
But you didn't come here looking for that kind of trivia, so my professional bio (prose resumé) is below.
Despite both of my parents each being raised with another language as their first, English is the only language I speak.
Schoolteachers told my mother's parents not to speak Creole French at home.
I was raised Catholic.
I attended public schools during a time when there was an attempt to finally enforce desegregation. In the 1990s.
We often visited plantations on school field trips.
When my parents switched me over to Catholic school, I ended up at what I'm pretty sure was founded as a late-to-the-party segregation academy.
As a poet at heart, my primary interest lies in creating stage poems. For that reason, story and plot do not typically occupy a place of primacy in my writing. I most often begin by focusing on an image and identifying the characters who inhabit the world of that image. Sometimes they speak through words. Sometimes they speak through actions. But no matter their chosen manner of communication, they are always attempting to create home in their bodies and experience liberation. It is my hope that the questions these characters raise about society can contribute in some way to starting a revolution with only one demand: the freedom simply to be.
The Settlement (2W, 1M)
Isaac and Rebecca are new homeowners who find their domestic bliss permanently disrupted by the attempt of a stranger to move into their home.
Production: Ensemble Studio Theatre, 2011
Black Boys Don't Dance (1W, 1M)
Mary hopes turning her youngest son into a tap dancer will save him from the government-sanctioned amputation of his right leg.
Production: Manhattan Theatre Source, 2011
Like the Beatles (2W)
It’s Miriam’s birthday, and she’s hired a prostitute to find out which forms of human contact are necessary to remind us of our humanity and which ones are "extra?”
The Analyses of Huckleberry’s Jim, A Musical (2M)
Jim visits an analyst because Miss Watson is concerned that he has stopped singing.
Freeways Ain’t Free (4M)
Henry Ford, Harvey Firestone, William Levitt, and Dwight Eisenhower await trial for the impending extinction of the human race.
The Wrinkles in Our Paths (4W, 1M)
A coming-of-age fairy tale about a girl’s attempts to reconcile being half princess, half beast, and madly attracted to trolls.
Staged Reading: A Trilogy of New Plays, Stanford University
One Mississippi Two (2W)
Sully and Leoma search for ways to pass the time while ironing underwear.