Literary Fiction | Art and Photography | Film Analysis
by Juli M. Kearns

Above are the 3 main sections of the site -- novels, art, film analysis. I am an author and artist living in Atlanta, Georgia, but not a native of the south, my formative years spent in Washington state. Though I was trained for a career in music as a child, literature and art were my twin aspirations from about the time I could say, "I am (fill in the blank)". Soon after entering college, I got my hands on a movie camera in a film class, and my love for cinema immediately became a desire to make it. I was accepted into NYU film school, but life had a different plan and I was unable to go. Thus, eventually, film analysis. Plus, I had a run in theater as a playwright. If you want to know more you can check out my bio.

The universe is a messy, painful, beautiful, mysterious process, and any and every attempt to capture and translate it is a quixotic task.

Check out each book's linked page for more information, including a pdf of the first chapter.

The Rhetoric of Streets

The Rhetoric of Streets

"We are in the death zone, so-called as here the human body fails to regenerate and begins to die, for which reason we must attain our goal quickly and return to safety, or fail and leave but survive," a voice says, which will not be recollected. A residual and telltale grain of its sand briefly troubles the sole of her foot on this side of the threshold over which she has crossed less than an atom's measure of an instant before, the world in which she was disappearing so rapidly, unless her foot finds that stray particle of sand (which it doesn't always) no realization of her departing and crossing the threshold is had.

--The Rhetoric of Streets

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Thunderbird and the Ball of Twine

Thunderbird and the Ball of Twine

"First, there was the space ship" is a conceit, a come hither wink of a dark alley lie down the order of a spit polished shoe of a movie that grabs you by the nape of the neck the moment the intro credits stop rolling and, before you've an opportunity to scream at the film noire drama queen assaulting you, propels you out of your spectator seat and professionally slam dunks your head into the toilet bowl of a plot right in the red velvet curtain draped theater of said alley. The first handful of hot buttery popcorn not even in your mouth yet and you're bobbing up from a kinky money shot. But what is about to be related is far more mundane than all that, so we'll scratch away the "first" and instead simply remark, "There was a UFO," because it's not even known if the object was a space ship that Odile McDonald happened to see.

--Thunderbird and the Ball of Twine (a Folk Tale)

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Unending Wonders of a Subatomic World

Unending Wonders of a Subatomic World (or) In Search of the Great Penguin

Is not one of the initial archaeological records of Homo typicalis the imprint of a foot at Olduvai Gorge. Why? Because it wanted to get to the other side. Homo typicalis has always been a migrant worker. And when it stopped migrating was when former migrators inhabited the land it wanted. At which time Homo typicalis became an invader, whereas Homo atypicalis threw a big party and married into the family. What this goes to prove is Human is not indigenous to anywhere and, following after the example of rocks that Ice Age glaciers moved hundreds of kilometers, should be classified Erratic. For Human to be other than Erratic indicates, if not an aberration, a dramatic shift in consciousness, which is in itself another exempli gratia of the inclination to change. Symbols of human should not be astrologically or sexually subclassified but should be, universally, the sign of the moving van.

--Unending Wonders of a Subatomic World (or) In Search of the Great Penguin

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Remixing the Hanford Declassified Project

Remixing the Hanford Declassified Project

The plutonium for FAT MAN, the bomb that ruthlessly devastated Nagasaki, was manufactured for the Manhattan Project at the Hanford Nuclear Reserve in the state of Washington. Richland, the town the bomb built, afterward promoted itself as the Atomic Frontier, a kind of Ground Zero of Cold War Culture. The WWII workers didn't know what they were making. The townspeople envisioned themselves super modern pioneers. In this case, the legacy of "hindsight is 20/20" is the most toxic site in the western hemisphere, a threat to the health of the pacific northwest.

--Remixing the Hanford Declassified Project

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