Stephen Ratcliffe
Department of English
Mills College
Oakland, CA 94613

Books of Poetry

Real. Avenue B, 2007

Portraits & Repetition. The Post Apollo Press, 2002

SOUND/ (system). Green Integer, 2002

Idea's Mirror. Potes & Poets Press, 1999

Mallarmé: poem in prose. Santa Barbara Review Publications, 1998

Sculpture. Littoral Books, 1996

Present Tense. The Figures, 1995

Private. Buffalo, NY: LEAVE Books, 1993.

spaces in the light said to be where one/ comes from. Elmwood, CT: Potes & Poets Press, 1992

Selected Letters. Tenerife, Spain: Zasterle Press, 1992

five. Oakland, CA: Slim Press, 1991

Before Photography. Oakland, CA: THE Press, 1991

Metalmorphosis. Oakland, CA: THE Press, 1991

Sonnets. Elmwood, CT: Potes & Poets Press, 1989

[where late the sweet] BIRDS SANG. Oakland, CA: O Books, 1989

Rustic Diversions. Los Angeles, CA: Echo Park Press, 1988

Mobile/Mobile. Los Angeles, CA: Echo Park Press, 1987

Distance. Bolinas, CA: Avenue B, 1986

New York Notes. Bolinas, CA: Tombouctou, 1983


Books of Criticism

Reading the Unseen: (Offstage) Hamlet. Denver, CO: Counterpath Press, 2009

Listening to Reading. Albany, NY: SUNY Press, 2000

Campion: On Song. London: Routledge & Kegan Paul, 1981


Books Edited

Talking in Tranquility: Interviews with Ted Berrigan. Bolinas/Oakland, CA: Avenue B /
O Books, 1991

Avenue B Books Published

Involuntary Vision: After Akira Kurosawa's Dreams (2003)
OUTSIDE, by Todd Baron (1995)
Registers / (People In All), by Clark Coolidge (1994)
Amblyopia, by Jena Osman (1993)
Second Law, by Elizabeth Willis (1993)
Linen Minus, by Susan Gevirtz (1992)
News on Skis, by Peter Ganick (1992)
Talking in Tranquility: Interviews with Ted Berrigan (1991)
Post Hoc, by Michael Davidson (1990
Words n Ends from Ez, by Jackson Mac Low (1989)
Among the Blacks, by Raymond Roussel and Ron Padgett (1988)
Japan, by Maxine Chernoff (1987)
Distance, by Stephen Ratcliffe (1986)



Poetry and Plural Identifications. Oakland, CA 2002
Primary Trouble: An Anthology of Contemporary American Poetry. Jersey City, NY, 1996.
The Gertrude Stein Awards in Innovative American Poetry: 1993-1994. Los
Angeles, CA, Sun & Moon Press, 1995
Parnassus of World Poets 1994. Madras, India: Sundaresan, 1994
The Art of Practice: 45 Contemporary Poets. Elmwood, CT: Potes & Poets Press, 1994.
49 + 1 Nouveaux Poètes Américains. Paris: Royaumont, 1991

Poetry on Broadsides

from Painting No. 26 ("objects arranged as rhythm the line [mechanical] moves toward, man in dream viewed from left side") San Francisco Center for the Book (San Francisco, 2000)
"Nostalgia" Uprising 2 (Buffalo, NY, 1991)
from spaces in the light said to be where one/ comes from: No. 73 ("What begins as the difference between lines in a book and the person") Vita Brevis Press (Oakland, 1991)

Periodicals (Poetry)


from HUMAN / NATURE 2.18 ("orange glow above right-sloping shoulder of still dark ridge"), 2.19 ("12 streaked sparrows pecking up seeds from rectangular table"), 2.20 ("white line of jet's trail slanting across blue-white sky"), 2.21 ("grey whiteness of sky behind plane of still dark eucalyptus"), 2.22 ("half-circle of waning white moon in upper left corner") the new review of literature 1 (Los Angeles, 2003): 151-55.

from HUMAN / NATURE 2.5 ("two red finches pecking up seeds from rectangular table"), 2.6 (" grey light coming into sky above plane of still dark ridge") rife (2003).

from HUMAN / NATURE 2.21 ("grey whiteness of sky behind plane of still dark eucalyptus") -VeRT 8 (2003).

from CLOUD / RIDGE 4.30 ("horizontal line of pink-white cloud in oval-") Shuffle Boil 3 (2003): 31.

from CLOUD / RIDGE 5.6 ("yellow of scotch broom branches above the green") MILLS now (Oakland, 2003): np.

from REAL 1.6 ("Iridescence of purples and pinks in he polished" TINFISH 13 (Kane'ohe, HI, 2003): 34.

from REAL 11.1 ("Shadow of three green rose leaves between circle"), 11.2 ("Interval of silence between cries of invisible"), 11.3 ("Two small birds lifting from corner into blue") Boston Review 28.5 (Boston, 2003): 20.

from REAL 1.2 ("Blue and white checked tablecloth on table"), l1.3 ("Egg-shaped rock at center of table in relation") stolen island review (Orono, ME, 2003): 78-79.

from REAL 1.9 ("Slow motion of the small grey cloud above line"), 1.11 ("Wingspan of an enormous bird turning in right"), 1.13 ("Pattern of yellow rose petals scattered on black") 580 Split 5 (Oakland, 2003): 120-22.

from Portraits & Repetition 12.7 ("visual action of person moving above [content] second person"), 12.9 ("see rotation of diagonal line from upper left to lower right") LIT 7 (New York, 2003): 226-27.


from Portraits & Repetition 9.17 ("horizontal strip of grey-white fog moving below top of ridge"), 9.18 ("chose-up of man's mouth opening [meaning] the sound he makes"), 9.19 ("presence of the invisible vertical plane [solid], atmosphere"), 9.20 ("allusion to color in right corner, blue and/or green feeling"), 9.21 ("yellow-orange globe at mouth of a glass [here] sound passes") SHINY 12 (Denver, 2002): 117-19).

from Portraits & Repetition 11.11 ("angle at which tobacco plant leaves the surface of the event"), 11.12 ("feeling approach of colder air from the outside being action") Five Fingers Review 20 (San Francisco, 2002): 31-32.

from Portraits & Repetition 12.11 ("and/or not moving, horizontal arrangement of negative images"), 12.12 ("body whose absence includes the feeling of space [calculate]"), 12.13 ("water poured against rocks in corner from which steam rises"), 12.14 ("interval between the sounds [it] makes and shape of the bird"), 12.15 ("angle of rock's corner above which the blue of sky beyond it") moira 4.4 (2002).

from Portraits & Repetition, 10.21-10.26 ("perception of sky's purple which hasn't appeared [important]"), 10.22 ("interaction of a bird's sound and its shape passing visually"), 10.23 ("appearance of [concept] across space of room, woman in chair"), 10.24 ("yellow as motion leaves [picture] it, above which grey-white"), 10.25 ("opacity of leaves through which sun's light passes [subject]"), 10.26 ("motion of small grey-white body lifting above sand [concept]") FLUX (2002)

from HUMAN / NATURE 4.20 ("golden-crowned sparrow pecking up seed from table in lower") Bolinas Hearsay News (Bolinas, CA, December 19, 2001): 1.

from Conversation 57 (" thinking of that, the dog who follows meaning to be close to what cannot be expressed as an ending"), 58 ("speakers set to convey the sound the man makes [camera] simultaneously to that, how a series of rocks"). VeRT 6 (2002).

from CLOUD / RIDGE 4.28 ("bright yellow goldfinch rising from pine branch"), 4.29 ("yellow branch of scotch broom against dark green"), 4.30 ("horizontal line of pink white cloud in oval-"), 5.1 ("pink-white rose blossoms hanging across shoulder"), 5.2 ("shaft of sunlight slanting to the left from grey"), 5.3 ("light green slope of ridge next to the dark"), 5.4 ("pink-white buds against green of tobacco plane"), 5.5 ("small grey cloud drifting across pink-white sky"), 5.6 ("yellow of scotch broom branches above the green"), 5.7 ("upturned curve of waning white moon in pale blue"). ARC (2002).

from Portraits & Repetition 11.6 ("two-dimensional grid of colors in relation to its perception"), 11.7 ("spaces before which an arrangement of ascending notes [isn't]"), 11.8 ("space at the edge where horizontal green rectangle (present)"), 11.9 ("duration of light [thought] moving from the top of the ridge"), 11.10 ("color which isn't the feeling inside [action], cells in body"). New American Writing 20 (Chicago, 2002): 59-61.

from Portraits & Repetition 10.25 ("opacity of leaves through which sun's light passes [subject]"), 10.26 ("motion of small grey-white body lifting above sand [concept]"), 10.27 ("series of three descending notes experienced as [sound] first"), 10.28 ("transparency of drop as water falls from leaf's green [thus]"), 10.29 ("yellow coming into a green plane, which as pigment dissolves"). Aufgabe 2 (New York, 2002): 135-39.

from Portraits & Repetition 9.29 ("line between spaces before it and after [this] for instance"), 9.30 ("disappearance of bird in flight curving below edge of window"), 10.1 ("feeling of motion in green plane beyond still closer greens"). 26: A journal of poetry and poetics 1 (San Francisco, 2002): 87-89.

from Portraits & Repetition 7.24 "diagonal line on ridge ascending to the right [one]"), 7.25 ("tobacco plant leaves to the right of the house [calculation]"), 7.26 ("son too much in the sun [physical] in the first scene, blood"), 7.27 ("orange of nasturtium above the light green stem which stands"), 7.28 ("irregular curve of line at the top of the ridge itself [not]). Pink Squid 1 (Oakland, CA, 2002): np.

from Painting 26 ("objects arranged as rhythm the line (mechanical) moves toward, man in dream viewed from left side"), 27 ("two birds in the tree from above [sound] formed as the possibility of negation, what isn't present"), 28 ("brick turned on its side in the grass, where the mower passes in front of the man facing [picture)])," 29 ("image of glass on the wall between doors, which is outside the stream of thought [being] present"), 30 ("ochre in relation to light, the closer he gets to the object seen the less its parts appear focused") syllogism 5 (Berkeley, 2002): 127-131.


from REAL 1.8 ("Three small white birds circling against plane"), 1.9 ("Slow motion of the small grey cloud above line"). VeRT 5 (2001).

from CLOUD / RIDGE 12.13 ("film of white clouds tilting across pale blue"). Bolinas Hearsay News (Bolinas, CA, December 19, 2001): 5.

from REAL 212 ("Profile of bright red edge of passion flower"), 2.2 ("High thin white clouds stretched across vertical"). 100 Days 1 (Cambridge, England, 2001): 153.

from Idea's Mirror "moving closer, as if missing her," "where the image, which one wants," "parked in the driveway, the green car," "whose appearance, when the child walks in." 6ix 7-8 (Philadelphia, PA, 2001): 101-03.

from REAL 11.17 ("two small circles of light at apex of triangular"). WALRUS (Oakland, 2001): 97.

from REAL 1.20 ("Grey white film of clouds between the vertical"). Bolinas Hearsay News (Bolinas, CA, January 24, 2001): 4.

from REAL 12.31 ("Sound of invisible green parrot screeching next"). Bolinas Hearsay News (Bolinas, CA, January 1, 2001): 5.

from REAL 1.8 ("Three small white birds circling against plane"), .1.11 ("Wingspan of an enormous bird turning in right"). VeRT 3 (2001).

from REAL 1.14 ("Left-facing curve of the waning moon in blue sky"), 1.15 ("Pink orange glow in two circular holes below top"), 1.16 ("Reflection in the window of sunlight in space"). untitled: a magazine of prose poetry 2 (Santa Cruz, CA, 2001): 129-31.

from Rocks "visibility," "as the poem starts," "lines of white where blue," "beside the road, dirt," "as if there wasn't," "meaning how to sleep," "like someone else's," "still, meaning to stand," "everybody's spring-," "Denmark's a prison," "ground being greener," "thinking of what meaning," "whatever the word," "as if such descent." SCORE 16 (Moscow, ID, 2001): 44-45.

from Painting 66 ("reverse view from above understood as conscious thought of what it means when the man calls at night"), 67 ("vibration of color refracted against the real [instinct] phenomena of seeing, before which meaning"), 68 ("'reflective' geometry of light against the vertical planes of buildings seen from above [calculation]"), 69 ("arrangement in the foreground of lighter and darker places not somewhere, intensity of visual effect"). BOMBAY GIN 27 (Boulder, CO, 2001): 176-78.

from Painting 21 ("condensation on the inside window through which sunlight [porous] passes on its way from cloudless"), 22 ("girl swinging on swing [dream] in nightgown, men at work in the streets below garden whose bricks"), 23 ("[kitchen] she is cooking or otherwise engaged, man running in from across the yard repeated as image"), 24 ("angle of the sun at noon above a well [geometry] designed to calculate the earth's circumference"). Kenning 10 (Buffalo, NY, 2001): 34-37.

from Painting 6 ("said of sound, the man returning to the green of grass coming up, small orange flowers in a clump"). Tinfish. 10 (Honolulu, HI, 2001): 42.

from Portraits & Repetition 9.12 ("sound of owl itself [position] hooing from tree in the dark"), 9.13 ("bright yellow edge of the building to the left of sky's blue"), 9.14 ("drop of water about to fall from tip of leaf's [spontaneous]"), 9.15 ("angle of person's left arm slanted toward reflection of face"), 9.16 ("not green but the atmosphere between leaves and the observer"). VeRT 5 (2001).

from Portraits & Repetition 9.8 ("surface of landscape from the hill [describe] in front of it"), 9.9 ("something like wind [present] but not, which is how it looks"), 9.10 ("first light behind the corner casting image of tree's branch"), 9.11 ("vertical edge of window against which light [describe] hits"). PAVEMENT SAW. 6 (Columbus, OH, 2001): np.

from Portraits & Repetition 8.13 ("woman leaning forward in light in front of visual cue, map's"), 8.14 ("primrose petals turning to where light might appear [that's]"). LUNGFULL! 10 (New York, 2001): 92-95.

from Portraits & Repetition 7.19 ("place where point [p] intersects the line between the inside"), 7.20 ("half the shape of a bird's body [logic] which leaves pattern"), 7.21 ("bird's sudden sound from beyond the random shape of branches"), 7.22 ("planes of sound behind sound as the note fades, figure [and]"), 7.23 ("window half-way closed, opposed to the two-dimensional image"). First Intensity 16 (Lawrence, KS, 2001): 41-45.

from Portraits & Repetition 7.9 ("how [it] takes place in the space between leaves and the air"), 7.10 ("placement of leg in curve of other's person's [that] isn't it"), 7.11 ("horizontal band across bottom of thought that [is] abstract"). Phoebe 30.1 (Fairfax, VA, 2001): 11-13.


from Portraits & Repetition 341 ("thought in which motion of the horizontal plane stops [one]"). [Empty Set] (Boulder, CO, 2000): np.

from Portraits & Repetition 5.30 ("blue plane of water in motion below line of horizon, [angle]"), 5.31 ("profile of cypress branch [abstracted] extended horizontally"), 6.1 ("flatness of light in relation to line betwen opaque [order]"), 6.2 ("hummingbird stopping a moment at top edge of middle vertical"), 6.3 ("hollow in clouds where the light appears to be moving, [one]"). http://www. (2000).

from Portraits & Repetition 6.9 ("sound of missing woman's voice left as the subject [defined]"), 6.12 (crow on bare branch scolding its made, red of tallest (that]"), 6.13 ("curve of brown guitar in contrast to porcelain wall, feeling"). Skanky Possum 4 (Austin, TX, 2000): 14-16.

from Portraits & Repetition 6.4 ("irregular edge of the cloud above the top of the ridge light"), 6.5 ("rose-pink sounding between the dark of clouds parting, whole"), 6.6 ("sound in the first place outside room, space defined [model]"). American Letters & Commentary 12 (New York, 2000): 11-13.

from Portraits & Repetition 6.24 ("angle [reverse] of yellow stretched to edge of page in book"), 6.25 ("act of looking which becomes a dramatic event, [head] turned"), 6.26 ("how all four globes fill the space around them, makes yellow"), 6.27 ("[particular] grey where the fainter planet fades between two"), 6.28 ("so [here], how yellow in the background and a different tone"). Syllogism 3 (Berkeley, 2000): 103-07.

from Idea's Mirror 41 ("walking into a room, grey sky"), 42 ("whose idea, instead of thinking"), 43 (" continued, two faces watching"), 44 ("gate as it closes, the person without shoes"), 45 ("[N] placed in the air, whose sound"). the end review 2 (Brookfield, CT, 2000): 3-6.

from REAL 8.21 ("Silver of sun's disk disappearing into grey"). Bolinas Hearsay News (Bolinas, CA, October 4, 2000): 4.


translation from the Russian of Viktor Korkiya, "Stuffed to the throat with my own song." Five Fingers Review 18 (Berkeley, 1999): 191-92.

from Idea's Mirror 1 ("light in the window, eyes"), 2 ("what sounds like, blue sky"), 3 ("meaning certain, that one"), 4 ("plays a piano, whose"). Five Fingers Review 18 (Berkeley, 1999): 166-171.

from Idea's Mirror 102 ("echoes itself, bird in window"), 103 ("vase on table, sound stops"), 104 ("hearing in itself, not that one"). Outlet (4-5) Weathermap (Berkeley,1999): 52-53.

from Idea's Mirror 116 ("plays again, fast forward"), 117 ("fog comes in again, or is"), 118 ("or over him, blue quilt"), 119 ("before coffee, telephone call"), 120 ("which idea, mirrored"), 121 ("starts again, the same person"), 122 ("man in the other room, lower garden"), 123 ("clouds moving in, image"), 124 ("through window, description"), 125 ("red above horizon, section"), 126 ("which the other wants, car"), 127 ("cloud descending, ridge"), 128 ("even after music, which sound"), 129 ("motion of branch outside, sky), 130 ("understood, as thinking"). Syllogism 2 (Berkeley, 1999): 101-115.

from MallarmÄ: poem in prose 97 ("an idea floating away, one calls"), 98 ("to eat, a survival some stressed"), 99 ("piano, the torn light as it was"), 100 ("in case of words a sentence"). Talisman 20 (Jersey City, NJ, 1999): 22-23.

from Idea's Mirror 76 ("window closing, reflection of rose"), 77 ("whose appearance, comet meaning hair"), 78 ("as the subject returns, telephone"), 79("lines, the facing page"), 80 ("filmed, how the person"), 81 ("seeing it, the picture itself"), 82 ("rain falling, whose sound leaves"), 83 ("white-washed bedroom walls, a room by the sea"), 84 ("returning to the phone, the room"), 85 ("man in the background, approaching"). New American Writing 17 (1999): 17-26.

from Idea's Mirror 16 ("anything [green] on its side, someone"), 17 ("that a person, whose voice"), 18 ("world in letters, leg on top of another"), 19 ("two birds in a tree, sound of three"), 20 ("inside of thinking, what is now"). First Intensity 12 (1999): 86-90..

from Idea's Mirror 71 ("slept beside you, which one doesn't want"), 72 ("feeling, as the body"), 73 ("of photographs, instead of driving"), 74 ("like the cover of a book, inside"). TORQUE 6 (1999): 28-31.

from Sculpture 7. ("The periphery into which each object becomes a movement of dust, how it settles"), 8. ("How the foot attached to the leg one sees through lace is lifted, its presence"), 9. ("Being in the place where people are sitting on a rock, facing west"). Big Allis 7 (1999): 53-55.

from Portraits & Repetition 1.31 ("listening to thing [at] exact instance of occurrence, object"). local howler. (1999).

from Portraits & Repetition 10.21 ("pereption of sky's purple which hasn't appeared [important]"), 10.22 ("interaction of a bird's sound and its shape passing visually"), 10.23 ("appearance of [concept] across space of room, woman in chair"), 10.24 ("yellow as motion leaves [picture] it, above which grey-white"), 10.25 ("opacity of leaves through which sun's light passes [subject]"), 10.26 ("motion of small grye-white body lifting above sand [concept]") flux (1999).

from Portraits & Repetition 9.7 ("blue-white disk framed below branches in the west ['green']"), 9.8 ("surface of landscape from the hill (describe) in front of it"), 9.10 ("something like wind [present] but not, which is how it looks"), 9.10 ("first light behind the corner casting image of trees' branch"), 9.11 ("vertical edge of window against which light [describe] hits,"), 9.12 ("sound of owl itself [position] hooing from tree in the dark"), 9.13 ("bright yellow edge of the building to the left of sky's blue"), 9.14 ("drop of water about to fall from tip of lear's [spontaneous]"), 9.15 ("angle of person's left arm slanted toward reflection of face"), 9.16 ("not green but the atmosphere between leaves and the observer") Duration (1999).

from Portraits & Repetition 2.8 ("green of tobacco plant leaves coming out on a branch [angle]"). Collected for 580 Split. (1999): np.

from Portraits & Repetition 12.2 ("interval between the bird's sound and what the observer sees"). Walrus (1999): 105.


from Portraits & Repetitio. 4.29 ("swell period 15 to 17 seconds [calculation], particular view") non (1998).

from Portraits & Repetition 2.12 ("waking to moonlight through the upstairs window, the picture"), 2.27 ("gap between the physical word and the object in relationship") Windhover (1998).

from Portraits & Repetition 4.28 ("tadpoles at the opaque green surface of water in glass [and]"). Combustable Void 2 (1998): 28.

from Signature Q ("the sense of it being (unlikely) to be seen by others in such a place, that"), O ("one who is thinking of calling on the phone the other wakes, turns the tape"), M ("where one in the car is driving, as if to say how the music changes"), L ("one who is thinking of driving (fast) the way the car goes forward, light"). First Intensity 10 (1998): 82-85.

from Conversation 1 ("how the voice is going forward in such a measure, conversation in whose scope the man is standing"), 2 ("the person in the blue shirt meaning one who thinks, being productive in the sense that one can read"), 3 ("a geometry of lines defined by the tangent of water and sand upon which shells have a limited life"), 4 ("walking across a lawn (green) how one will be struck by peripheral vision, as if voices on stage"), 5("to get beyond what one wants, a road whose curves extend the perception of what may be thought"), 6 ("that room in fluorescent light after the voice stops, how the person at the other end of the line"), 7 ("how if the sprinklers don't come on the grass (lawn) will turn color, meaning the robin who startles"), 8 ("to think of how that person enters the room already occupied by others who have driven the same roads"), 9 ("how to be continued is missing the person to whom it may be addressed, not having spoken in one sense"). Lingo 8 (1998): 137-38.

from Conversation 33 ("all night without waking, the one who has taken her seat in the blue chair looking up at the person"), 34 ("the one at the window looking out of the photograph too far away to be seen, buoyed up on a curtain"), 35 ("picking up the phone in that tone of voice, having been interrrupted by what she doesn't say directly"). Columbia Poetry Review 11 (1998): 22-24.

from Conversation 62 ("the view from an upstairs window, who dogs will be seen first where the animal was (disappeared"). Walrus (1998): 40.

from Idea's Mirror 11 ("postcards on a table, not that one"), 12 ("like a door on its hinges, which opens"). American Letters and Commentary 10 (1998): 149-50.

from Idea's Mirror 26 ("one, in which the syllable"), 27 ("in telephone space, two green candles"), 28 ("where the left leg, placed to cover"), 29 ("surrender, the person in the doorway"), 30 ("walking toward the phone, where someone") Layers Magazine 1.1 (CD) (1998).

from Idea's Mirror 51 ("where the window, out which pages blow"), 52 ("dives under the wave, which approaches"). Mike & Dale's Younger Poets 8 (1998): 77-78.

from Idea's Mirror 53 ( "person at window, whose appearance."), 54 ("birds another place, which sound"), 55 (" broken off, the dream as it fades"). Melodeon 2, (1998): 9-11.

from Idea's Mirror 66 ("not that she said, the person on the phone"), 67 ("what wasn't taking place, paint on wall"), 68 ("meaning that, the man who sees"), 69 ("two figures stopping (angle), first"), 70 ("wind on water, cloud leaving"). Inscape 2 (1998): np.


from Geography ("Got k/ Early.") Crayon. Premier Issue (Festschrift for Jackson Mac Low's 75th Birthday) (1997): 145-46.

from Sculpture 59 ("The shape of a bird on rocks exposed when the water goes out at low tide (minus)") and 60 ("Having turned to go back before one had wanted, the body in that sense pressured") Southern Review 30.1 (1997): 48-49.

from Conversation 11 ("limited by waking to sunlight in a white room, indirect in the sense that low clouds (fog) filter"), 12 ("as if the object appears in a dream in place of its location, the original feeling the body (head)"), 13 ("how after rain the season in other words changes, driving in a car along the coast after having left"),14 ("how that is to say birds will be scolding, the one putting lotion on her legs meaning they are dry") and 15 ("how the one driving away will be made to feel that way, having slept when the back goes into knots"). First Intensity 8.4 (1997): 198-202.

from Conversation 16 ("walking away from the car whose windows are washed, the man who writes the message meaning to talk"), 17 ("the man in a car whose window (open) appears to let his smoke evaporate, now orange signs at the side"), 18 ("so blue the sky behind leaves (falling) appears to be melting, the person who walks across the field"), 19 ("meaning this one, the line at the top analogous in the position to the ice pack (wrapped) placed") and 20 ("intervention being a form of swallowing the pill whose effect will be felt for hours, say that one"). Proliferation 4 (1997): 68-70.

from Conversation 41 ("at the bottom of the hill the place one things was home, meaning the other person turns on the light") and 49 ("or sound of mariachis on the tape that doesn't stop, the man asking for someone to walk to the store"). Rhizome 1 (1997): 63-65.

from Conversation 51 ("in a line about building that isn't a film or book in another language but the same thing in a place"), 52 ("represented as a feeling (alarm) walking down a road in the dark where people stand without speaking"), 53 ("assuming it wasn't a story, say that the man who was walking now lay dead in a ditch across the road"), 54 ("under a tile roof, the view from the table including those who are about to enter the water minus"), 55 ("set of options, returning to find one person asleep in the other person's bed (intentional) meaning"). New American Writing 15 (1997): 102-06.

from Conversation 62 ("after thinking it, the man (speaking) who finds himself on a dark street about to be given photographs"), 63 ("the view from an upstairs window, how dogs will be seen first where the animal was (disappeared)"), 64 ("in the work about form, content no longer being what takes place betgween the person driving (north)") and 65 ("aside from the painting on the wall, whose subject (orange) isn't analogous to the color or shape"). Mirage #4/Period(ical) 66 (1997): np.

from Conversation 71 ("above the house, the ridge across which wind is clocked at 128 miles an hour (reported) the day 'you'"), 72 ("from 'you,' being in that case in a foreign country (I) whose language includes words for cloth, music"), 73 ("the way the sky (cloud) clears as the land heats up, the water turns blue reflecting the form (dome)"), 74 ("two days prior to this, how many different people walking without shoes over fields of lava (cooled)"), 75 ("including wind, which the man with a telephoto lens at the edge of water (coral) says will come"). Situation 14 (1997): np.

from Conversation 76 ("or direction of the swell when it comes up, how the first clouds to catch the sun's light on another"), 77 ("why one is there (island) overlooking the sea, into which the sun appears to flash (green) setting"), 78 ("no further away than the bird outside the window, after scratching at something on the roof (sound)"), 79 ("facing west (Friday) in another climate, a chair the wind has blown into the canyon below the house") and 80 ("in which one reads a line listening and talking at the same time, the person who wakes up like that"). w/edge 3 (1997): 53-58.

from Conversation 91 ("nostalgia for what is past, examples of which are represented by the person who was missing (physics)"). Antoeonym 12 (1997): 27.

from Conversation 94 ("waking up from the dream about making a movie, a line-up of people who will play the victims (chained)"), 95 ("where the woman is looking across at him, her elbow (left) cropped by the edge of the picture subject") and 96 ("the way the dream fades when the person wakes, 'you' in a chair (outside) co-ordinate with its subject"). Angle 2 (1997): 32-34.

from Idea's Mirror "what she feels, seeing that person"). Walrus (1997): 85.


From Sculpture 11 ("The one who is lifting a hand to fit the strap below her shirt, as fashion"), 12 ("The woman in the chair in the middle of the room, seated at the table"), 13 ("The person who is walking away in time, toward the next or following day"), 14 ("Happening into the area marked as an enclosure"). First Intensity 6 (1996): 154-55.

from Sculpture 19 ("Waking up being able not to remember the direction one is walking, the bridge that may be said to sag"), 20 ("Again driving to the garden [roses] in a car one thinks to park for hours, walking in concentric circles").Columbia Poetry Review 9 (1996): 47-48.

from Sculpture 15 ("The same person therefore speaking in another room, waking up to the sound of dogs"). Tinfish 2 (1996): 29.

from Sculpture 14 ("To be in places (outside) air is colder, as if to register clouds"), 15 ("The day after the day after someone not on the phone, that someone could be objective"). American Letters & Commentary 8 (1996): 84-85

from Sculpture 22 ("The man under the hat whose music can be made to sound like that, speaking of blues"), 23 ("The architect who inscribes himself in three dimensions meaning to make the house"), 24 ("Crossing the sidewalk over water, the lines between buildings meaning to be questions"). JUXTA 4 (1996): np.

from SOUND/ (system) "Coherence," "Accident." JUXTA 4 (1996): np.

from SOUND/ (system) "Meaning," "Context," "M." Ribot 4 (1996):76-78.

from Signature "N," "P," "Q," "R," "S" RE*MAP 5 (1996): 3-7.

from "composition (two)" (with NoĹl Fortier) 19 ("the postcard on the table [movie]"), 20 "walking out the back door as if into a wall of sound (birds)"). Walrus. (1996): 60-61.


from Sculpture 19 ("To say the mark at the edge of the page means another world"), 10 ("The one to the left looking over her shoulder"), 21 ("How as one moves across the floor from where it is the other has entered"). New American Writing 13 (1995): 54-56.

from Sculpture 1 ("Present at the beginning of such a space, the room itself facing"), 3 ("How it is that a person may be seen [by an observer] whose body conveys"). B CITY 10 (1995): 71-72.

from Sculpture 19 ("Waking up being able not to remember the direction one is walking, the bridge that may be said to sag"), 20 ("Again driving to the garden [roses] in a car one thinks to park for hours, walking in concentric circles"), 21 ("How in the volume enclosed in that place the dream unfolds to include an upstairs window"). Chain 2 (1995): 188-89.

from SOUND/ (system) "Confinement," "Assumption," "Reverse," "Measure," "Figure," "M." The World 50 (1995): 126-28.

from SOUND/ (system) "(Private)," "J," "Climate," "Pace," "Chapter," "Sentence," "Sound," "Exhibit," "Continuity," "Tableau." Active in Airtime 4 (1995): 14-19.

from Present Tense "Interrupted by music," "bugs and currants in a basket," "'I once was a postcard,'" "Excuse me, do the sheep go too?" "bags under eyes and perfumed," "green nubs the vine," "alone, having lost his shirt," "another amusement was Billy's walking pneumonia," "two point four to the Cascade Garden," "think how real cows' milk tastes," "another coffin of twigs and scraps," "she wakes up early not knowing," "in dark glases armed for work," "she dreams a palette, overhead smash!" "mosquito at pond's surface," "going to the chapel in the shade," "after hours on the road," "the more you tell a woman," "talk about mothers, how could she die," "does that mean foreign policy was an aphrodisiac?" "more light she wants to work," "swallows descending at evening," "ear to the grass, he hears himself thinking," "Romeo eyes the bird on the wall," "in the absence of datelines," "'forerun faire love, strewing her way with flowers,'" "stop when you read 'in the middle of the road,'" "let X be the movie of clouds on the sun," "why did he sit in front of the painted bird," "strong drugs each morning." Five Fingers Review (Metamorphosis) 14 (1995): 72-76.

"Collaboration (1)" (with NoĹl Fortier). Walrus. (1995): 57.


from spaces in the light said to be where one/ comes from 23 ("The whole solo inside what seemed a volcano of yellow margins"), 27 ("Soon seven, as some have called from sleep pleasure"), 54 ("Awkward, tracked, a dog lies down in a street he scarcely knows"), 60 ("Lives [one remembers the page] projecting speed"). Cyanosis 1.2 (1994): 62-65.

from Conversation 29 ("instead of reading which words, one hears what it is to make the sound of strings [plucked]"), 30 ("call it weather, the way one thinks of the person [named]"). North American Ideophonics Annual (1994): np.

from Conversation 12 ("As if the object appears in a dream in place of its location"), 29 ("instead of reading which words, one hears what it is to make the sound of strings [plucked] measure"). range/landscape 1 (1994): np.

from MallarmÄ: poem in prose "Magnify the element, a luminous hum," "his leg, the one you know' he left," "most prosaic, muscles counted to decide," "added now before returning to the person." ART / LIFE 14 (1994): np.

from Selected Letters "Context = One Less Person," "Part II." Central Park (1994): 40-41.

from SOUND/ (system) "(AMP)," "-PRIVATE-." 6ix 3 (1994): 23.

from Signature "M," "Q." Talisman 12 (1994): 226-27.

from Present Tense "Whatever happened to the feelings inside," "sifting up the fhe lower regions of not counting sleep," "just a word 'string,' ardor arbor," "the swell came up from the west via the window," "an eight-year-old listening to feaathers in the quilt start to bunch," "why is Madame licking the canceled stamp," "a line of patients dressed and undressed," "as soon as she turns off the light falls asleep," "X counts Y and Z friends, hard contacts," "sirst she was in Florence, then the alarm went off," "before the cancellation of the summit," "how suddenly one becomes ten," "the pick, pack, pock of balls splashing in a bowl of air," "after shocks rock falls," "ironic as boring work in a beautiful garden, Catullus," "my father raised ion Tulsa suggested she was the cigarette on the desk that no one smokes," "the beekeeper who couldn't find his words," "red dogs in the morning, the motion pictures stars war," "twenty years later the same song plays again," "when Kafka gets hard, white paint everywhere but in the news," "D Minor a frame to hang Dante in," "his daughter calls him 'daddy' with an e as in French, 'beau,'" "one plays the music as noted," "birds up before first light even if she isn't awake," "the vestige of a tail hidden in his cocyx, DarthVader didn't like large crowds," "did the fire come on without warning?" "leaving home because she didn't like to work, Nancy Smith Drew's noblesse oblige," "Stravinsky famous at thirty, Zappa's interest lies," "refreacted egret shadow lagoon glass-there's something about dense sound," "to be the green shirt blue with yellow glasses." Conjunctions 22 (1994): 209-213.

from SOUND/ (system) "M," "M," "EVIDENCE," "LANGUAGE." Lingo 3 (1994): 60-61.

from Present Tense "Pen, turn left, swallow-accent on the second or down beat," "white one, scans the horizon-banks of clouds on the western front," "Bill Evans played a cool jazz samba, his slogan 'My life, my gas,'" "the scat singer warms her throttle," "orange cones askew at the scene of a car pulled over the cliff," "come live with me and we'll play gin in the attic," "it often comes to tears when she tries to leave-another shirt, other headlights," "specific gravity an end in itself, a glimpse for example of contact lenses," "lost behind the mountain, the drone of a saw fells limbs," "birds singing in a pine blind, fog banks like Pigeon Point," "at minus tide the dredge called Kent's Folly, how far do the holes go, Beijing?" "like picking up a watch at 4:21 exactly," "lighting up a Winston, the cloud pattern was like a map of France," "Costa Rican monsoons so loud they couldn't hear themselves touch," "mildewed shoes in the closet, you can henna my hand anytime you like," "willing to listen to whatever she had to say if swwapping words were physical," "Gould's Goldberg Variations, the wind in pine ensemble under the direction of some one," "the stone in her compass barely centered," "Lisle cotton is a lovely color, 'Triste' is traditional," "let's ask our master in the book, do splines make table legs joiner?" "nor do the Yellow Pages list the awsome power of winter storms," "like Attic prose, John didn't live in his car but fed the cats there," "sixteen feet above flood stage, Robert Mitchum felt most proud of his long marriage," "over greens they can't putt, bogeys by ex-Masters champs," "instead of always using the pattern, proceed according to logic," "if people all over the world start the evening with red, what starts with 't,'" "this could be anywhere going home to breakfast-someone from California," "light, think of the gate whose carriage bolts are tinted blue," "realistically, as if you knew what she wanted but now forget," "like whatever sudden [illegible] order, absolutely selfless." First Intensity 2 (1994): 84-88.

from Present Tense "Stones lichen-laced in the dew-green field the ultimate shock," "lights dimmed before the clap of thunder, I mean the real spring," "from now on let the record be The Spiders, the tones heard before fade," "picture Big Nurse on the cover of her second book of Hospital Tales," "'obsolete' was a telephone word meaning sidestepping puddles," "speakers in the next room a little back from Bach," "in a letter as of surprise the ruse was also the lesson," "clouds after clearing, Mozart's Divertimento ahead of its time," "being pregnant, Katie longed for the sensation of lening down in the frozen peas," "silver stamped to koto music his work slowed." MIRAGE # 4 PERIOD(ICAL) 30 (1994): np.


"Six Stanzas in Search of an Author" B City 8 (1993): 22-23.

from Signature "R," "S." Anthology of North American Ideophonics 1 (1993): np.

from Signature "N," "O," "P." OBJECT 2 (1993): 34-46.

from Selected Letters "P.S. at the Top of the Page," "'Allons,'" "Stop Calling Me Proust." Texture 4 (1993): np.

from SOUND/ (system) "--N," "(IDEA)," "INTERCEPT," "PREFACE." lower limit speech 5 (1993): np.

from SOUND/ (system) "THEORY," "SERIES," "NAME." lyric& 2 (1993): np.

from spaces in the light said to be where one/ comes from "A simple thing to prepare the senses, as if it were one voice," "To have said the stone at the gate is mine, light that echoes," "What absence meant to double, say as moving in a sphere," "Starting perhaps in a chair, the scene different in that it looks." Avec 6 (1993): 98-101.

from spaces in the light said to be where one/ comes from "Station in turn," "Mica, asleep in this thought of a bed in the next room," "Let eye look the shape of sound, a cloud we know that turns," "Blue saw in the voice, and suddenly controllable beneath the weight." O/ARS 9 (1993): 25-28.

from SOUND/ (system) "(C)", "D," "D," "E," "F." Talisman 10 (1993): 91-93.

from SOUND/ (system) "STORY," "FICTION," "PARADISE," "N," "PAUSE," "ACT." Santa Barbara Review 1 (1993): 92-94.

from SOUND/ (system) "SCALE," "SMOKE," "--T," "T." New American Writing 11 (1993): 74-77.


from MallarmÄ: poem in prose "the familiar leaf she held," "in this state setting out in rows," "again the lamp, moment forgetting," "'The air . . .' in her called out," "a taste of the familiar leaf." Tyuonyi 11 (1992): 57-61.

from MallarmÄ: poem in prose "apart, this suspense followed," "tangible spring a spot in the dark," "prose reading (more than you) a list)," "the voice itself (first one) intervenes." Avec 5 (1992): 135-36.

from spaces in the light said to be where one/ comes from "The way looks against a post," "A little as a calm thing thought." Five Fingers Review 11 (1992): 18-20.

from Selected Letters "Paris, Friday," "Shortly After 21." Talisman 9 (1992): 188.

from Selected Letters "Selected Letters," "Another Prose." Equinox 1 (1992): 198-99.

from Selected Letters "'One Evening,'" "A Novel," "The Sentence of '94," "'Portrait of the Author," "'Portrait de Peintre." :that:. September, 1992: np.

"Waves." Bolinas Hearsay News. March 11, 1992.

from Selected Letters "Re-Enter Hamlet." lower limit speech: a newsletter in poetics 2 (1992): np.


from MallarmÄ: poem in prose "in no way the child, reading poems," "almanac more than a noun, the car," "nervous, as something first on" "who is calling, as if the riddle," "the familiar leaf she held." ooblek 10 (1991): 123-38.

"Boom Boom Sha Boom," "The Legacy of Light, " "Deciding Finally to Take Care of His Feet, Surgery." Transfer 6 (1991): 123-34.

from spaces in the light said to be where one/ comes from 45 ("And in the morning the pole beneath a word"), 49 ("After the line left on the shelf, something melted"). New American Writing 7 (1991): 34-45.

"Maybe A Story," "How Plants Coil." Shiny 6 (1991): 77-78.

from MallarmÄ: poem in prose "contemporary, she emerged from the head," "leaves, no doubt the chill," "to be the person who herself turned," "apart, this suspense followed" "tangible spring a spot in the dark," "his walk, the person to think" "the verb in slow motion, train" "prose reading (more than you) a list," "The end and is," "the voice itself (first one) intervenes." Talisman 6 (1991): 78-81.

from spaces in the light said to be where one/ comes from 67 ("How next to measure the example on a couch, sometimes called vacant"), 68 ("Refrain upstairs, the possible choices"). furnitures 4 (1991): np.

from MallarmÄ: poem in prose "as a man who wants, I was to breathe," "All ears, eyes, its five fingers," "the same way of seeing, one eye," "no surprise, her arm set down as echo," "in the other exhibit of Metaphor," "a variety open to think, the same strokes," "something settled from the waist: the stamp," "the backward glance, form the picture," "illusion, you reply, left from a silence," "survival for others to stand, look at light." Generator 5 (1991): 33-44.

from spaces in the light said to be where one/ comes from "Felt through the surface of two walls, vertical seams, his face slanting," "Green, waist-high, drawn out miles to the edge of folds." Talisman 7 (1991):118-19.

from Present Tense "The polite plot was a trauma," "The attempted suicide's," "ONLY D ARE E equals," "'You'll never convince your child," "The four-note mobile," "Speaking of nuclear bombs," "What do these faces," "'Rag Mama Rag' on the flip side," "You'll have to finish that now," "French mustard or regular," "The pear on the plate," "Some people think the book." Central Park 19/20 (1991): 217-22.


"How Far Is the Water." Zyzzyva 7.1 (1990): 91.

"Georgia Minor." Talisman 4 (1990): 58.

"Song Instead of Psycho," "Without Thinking," "added now before returning." Caliban 9 (1990): 67-68.

from spaces in the light said to be where one/ comes from Reason in such a case led to a flashlight, the car coming back," "And in the rest places to stop, hesitate, first the shoulder forward," "For the same image of twigs at home the pavement of steps," "The space a number means or body begun to spread." Nine 1 (1990): np.

"Before Photography." OCCIDENT 103.1 (1990): 304.

"Jack Be Quick." POETRY USA 5.1 (1990): 10.

"The Great American Novel, Chapter 5." The Poetry Project Newsletter 136 (1990): 21.

"4 FT," "Hija." Transfer 5 (1990): 58-59.

from MallarmÄ: poem in prose ""at his initiative the head," "not just a place, who knows," "a taste of the familiar leaf," "The pause to sum up absense." Archive Newsletter 46 (1990): 19-22.


from MallarmÄ: poem in prose ""He was reading today," "Potential, yes, you do suffer," "Last on her list of sunspots," "The sidewalks in South China." B City 6 (1989): 38-39.

from Present Tense "Asleep on the couch watching Mystery!" "The fire chief's wife," "Meanwhile, his girlfriend," "But you can always write something," "My kingdom for a breeze of air!" "Say call the twins X and Y," "Stop for Anchor." Avec 2 (1989): 48-49.

from Present Tense "Absorbed in The Murder of Representation in Literature," "At the risk of sounding," "After the assasination," "Cappuccino 'to go,'" "At the end of variation the theme," "Descending the mountain," "The cat left a small deal in the cosmic scheme," "Radio short by crick," "Nick used to be smarter," "Forget the politics of work." Generator 3 (1989): 76-80.

from spaces in the light said to be where one/ comes from "A stone from its size monotonous," "Called by such a voice." Tyuonyi (1989):41-44.

"Certain qu'ł tout moment je puis revenir" ("Knowing I could return at most anytime"). ZUK 24 (1989): np.

"For Carlos Garden In Heaven," "Happy To Be Dog." O.ARS 6/7: VOICING (1989): 110.

from Present Tense "Ostensibly returning from the edge of private language," "Excuse me, do the sheep go too? Read 'come' and 'go,'" "Constant amplifies water, grammar a means of making ends," "Her one grandmother in heaven, the other in Oakland." New American Writing 5 (1989): 87-88.

from Distance "UN VIN CAPITEUX . . ." "LA COQUILLE ELLE-MEME ENFILE . . ."PRENEZ LA ROUTE TRAVERSEZ UN SEUL ETAT . . ." action poÄtique ("Etas-Unis: Nouveaux PoĆts) 117 (1989): 87-88.


from Present Tense "The two Kens between the Barbies," "Orchid, French windows," "Company town, zinc involved," "Mud like the k in knife," "What can grow in glacial acetic acid?" "They threatened to serve him," "On the way to the Bronx," "So Copeland are those lofty decrescendos," "Since he refused to cut back on his overtime," "Nothing loves a pine's acid," "Music at the speed of sound," "Pronoun for which there is no substitute." Avec 1.1 (1988): 44-46.

from spaces in the light said to be where one/ comes from "Every lights on a twig," "And for all we are a circle of shade," "Sometimes at night, fevers turning," "Shakes across thrust, how the ceiling," "More salt as shadow quilts," "Tomorrow wears, and by such scale," "Evening, picking repeatedly over rooms," "At the wall times, parted months," "The difference a body, begun to spread," "A litany of sky, place, degree," "Said like a body which, both weather," "Between lights a paper bag," "Of sound dissolve the turning of-" "Name and address out of sight," "Vanish, so fades which color dissolved," "Where will all, ah, breath," "Awkwardly, the spread and lift in standing," "And whose pendulum crescent." Temblor 7 (1988): 120-130.

from Present Tense "Regardless of immigration standards," "Dropping film noir names," "And it's so cold in the kitchen," "Nor do I think my father read the Bible," "Chalkbox intercepted by forms," "I dream the wall and how to get it straight," "On the tennis court or something like it," "Writing perhaps that you don't have to speak," "And supposing she is the best dressed woman," "Two dog food bowls are never," "This line cross out results in static," "Pants should break above a shoe," "Bob Hope lives in a small town in Vermont-" "And what do you remember about 24 September?" "You have a loyalty conflict," "Whenever I hear the word 'culture'." Peninsula 1 (1988): 31-34.

from Present Tense "Picture the square whose huge bronze canters," "Tonight she will start in again on Battista Sforza," "Let it also be said that her plans included," "Profound amounts of garlic suggest," "What cherished most running the risk," "Does jammed together make sense," "Ohio the first word of a sentence," "At which point counterpoint takes over," "I'm trying to put this correctly," "telephone specials," "Like waves of rhythm on four congas," "Watery mornings the curbs are awash," "Spelling test beguine," "Because the block bowed where backwash," "High cloud drizzle, hard cider," "Too vigorous to give up active surgery," "After hours of soft curves." Sulfur 22 (1988): 130-34.

from Present Tense "When the fire burns low, when the wolves begin to yowl," "Sound objects to the extent that chance," "Wrapped in a room inside a room," "Having taken vows of silence," "They did a beautiful job cutting the cancer," "Her letter stoped on the word clock," "Say things are grim, maybe embarrassing," "Controlled burn exposed schist," "Come in Mission Specialist Surgeon," "As the notes spread out from F-sharp." New American Writing 3 (1988): 68-72.

from spaces in the light said to be where one/ comes from "Under one commanded to be sound," "Haphazard, as one would edge his way," "Staring up through light" Caliban 5 (1988): 74-75.

"Knowing I Could Return At Most Anytime" Poetry Project Newletter 130 (Oct./Nov. 1988): np.


from Present Tense "Massive white..." "Scipio Africanus..." "Up where my plate..." "Scribes, limners..." "His pipe..." "The siren..." "Streets gone for weeks..." "Every once in a while..." "Consumptives, amphetamines..." "Who wants an audience...." New American Writing 2 (1987): 67-71.

from Present Tense "Omnivorous polyps," "Somnambulating in the hall," "Three blue chairs," "Just in off the plane." Big Dream (1987): 16-17.

"In the Pineapple Field, 1913," "Venison," "Workers in the Rice Field" Smithereens (1987): 34-36.

"Ode to Joy," "1100 People Are Said to Live Below Grand Central Station" New American Writing 1 (1987): 111-12.


from Mobile/Mobile "Tall white rooms of old southern home..." "White sand road on lagoon stop...""River bottom sand bar Woody...." Volition (1986): np.

from Distance "The flow of liquid..." "Their shores well trained..." "Other sounds..." "The pressure of one thing..." "With it, by contact..." "With limited exercise..." "A cloud of a class..." "Ascension Island..." "Almost all means..." "The star closest...." Sink 2 (1986): np.


from Distance "Ionian Islands..." "The choice by vote..." "Long house either..." "Alga of mostly..." "Disease associated..." "The vertical face..." "Of a class of air..." "Rudimentary..." "Milk snake..." "July mainly grey..." "Pelican nicknamed..." "Tropical American...." Credences (1985): 27-33.

from Distance "Still Life." Berkeley Poetry Review 18-19 (1985): 82.


"A Day in June, 1925," "Sestina." Four to Six (1984): np.


"Highway 56." Poetry Now 7.2 (1983): 21.


"American Garage," "Fling It Up/Shake Down/Aunts/Apocalypse." The World (1982).

"Jugo de Naranja." Negative Capability 2.4 (1982): 87.

"The Clam," "Blue Heron." Berleley Poetry Review 13 (1982): 45-46.


"Pacheteau's." Massachusetts Review 20.2 (1979): 208-10.

"Milking," "Peas," "Potatoes," "Cucumbers." Prairie Schooner 53.1 (1979): 76-78.

"Circle," "Fourth Month," "Gris Gris," "Term," "Labor," "Interstate 280," "Still Life," "Flight," "Concert, London," "Milton," "Rome." The Compass 5 (1979): 90-95

"Postscript, on a name," "Air." Poetry (Chicago) 133.6 (1979): 321.


"A Book of Hours," "Surf Cottage, Bolinas," "Gioconda," "Conclusions." The Southern Review 14.1 (1978): 116-119.

"Readings from John Muir's Journal," "Rustic Diversions." Poetry (Chicago) 131.5 (1978): 272-78.


"Epigrammatum Liber Primus/Liber Secundus." Poetry (Chicago) 130.2 (1977): 90-93.

"Waterfall," "Summer Rain" "The View from Mono Pass," "Pause, Pico Blanco." Poetry (Chicago) 129.4 (1977): 207-10.

"El Capitan." Meadowlark (1977): 31.


"Blood," "Logging," "Domestic." Poetry (Chicago) 127.4 (1976): 211-13.

"Elegy IV.7" (translation from Propertius), "L'AprÄs-Midi d'un Faune" (translation from MallarmÄ). Hyperion 5 (1976): 36, 154-57.


"Fairhope, Alabama," "The Snake." The Greensboro Review 17 (1974): 73-74.


"L'AprÄs-Midi d'un Faune." Hyperion 1 (1971): np.

Periodicals (Criticism)

"Cracking the Code." Indictable Suborners. Sebastopol, CA: dPress, 2003: 39-55.

"I began making collages/assemblages." Unbound and Under Covers: Experiments in Visual Writing. Berkeley: Livres de poĆtes (femmes), 2003: 8.

"A Note on Robert Duncan." Aufgabe 2 (2002): 222-25.

Statement on Portraits & Repetition. New American Writing 20 (2002): 58.

"Reading (Cage) Silence." corner (2000).

"'Who's There?': Elsinore and Elsewhere" Modern Language Studies 29.2 (2000).

"Words and Music: Campion and the Song Tradition." Approaches to Teaching Shorter Elizabethan Poetry. edited by Patrick Cheney and Anne Lake Prescott (New York: Modern Language Association, of America, 2000): 216-19.

"Memo/ Re: Reading Stein." corner (1999).

"Listening to Reading" non (1999).

"Notes on Idea's Mirror" New American Writing 17 (1999): 27.

"What Doesn't Happen in Hamlet: The Ghost's Speech." Modern Language Studies 28.3 (1998): 125-50.

"What Doesn't Happen in Hamlet: The Queen's Speech." Exemplaria: A Journal of Theory in Medieval and Renaissance Studies 10.1 (1998): 123-44.

Robert Duncan in Word and Image" Mills College Art Gallery Bulletin 4 (1998): 17-20.

"Eigner's Scores." Witz: A Journal of Contemporary Poetics 5.1 (1997): 4-7.

"Eigner's Scores." shadow play 5 (1997) np.

"'Shakespeare' and 'I.'" Exemplaria: A Journal of Theory in Medieval and Renaissance Studies 8.1 (1996): 259-268.

"'Conceal me what I am': Reading Act 1, Scene 2 of Twelfth Night." University of Mississippi Studies in English New Series 11-12 (1993-95): 195-225.

"Grenier's Scrawl." Witz: A Journal of Contemporary Poetics (Spring 1996): 4-11.

"Correspondences." Santa Barbara Review 3.3 (1995): 8-9.

"Michael Gregory." Catalogue for Gail Severn Gallery (1995): np.

"Preface to MallarmÄ: poem in prose." Poetic Briefs 18 (1994): 1-2.

"Untitled." range/landscape No. 1 (1994): np.

"Dahlen's Reading." Raddle Moon 13 6.2 (1994): 128-32.

"Writing [Echoes] Writing." Santa Barbara Review 2.1 (1994): 48-60.

"Writing [Echoes] Writing." (exerpt)Texture 5 (1993): 37-39.

"Uttering Mimesis." Occident 103.1 (rpt. 1992): 120-24.

"Reading Sun." Occident 102.1 (rpt. 1992): 81-83.

"Fragment." Texture Chapbook Series 8 (1992): np.

"Fragment." Exposures 3 (1992): np.

"The Landscape (Body) of the Poem." Anabasis 1 (1992): np.

"Inter(Options)." Witz 1.1 (1992): 1-8.

"Sound (Shape) As Thought." furnitures 7 (1992): np.

"Listening to Reading." Talisman 8 (1992): 61-62.

"Preface." lower limit speech 2 (1992): np.

"Preface." Talking in Tranquility: Interviews with Ted Berrigan (1991): 9-10.

"Supernatural Duet." Talisman 7 (1991): 111-17.

"The Asymptote of Elsewhere/ Where Literature and Science Intersect." Peninsula 4 (1991): 22-31.

"Echoes." Conjunctions/ The Music Issue 16 (1991): 280-96.

"The Novel/A Poem." The Poetry Project Newsletter 141 (1991): 19-20.

"Writing Ghost Writing." Talisman 4, (1990): 112-14.

"The writing of today . . ." TYUONYI (PATTERNS / CONTEXTS / TIME: A Symposium on Contemporary Poetry) (1990): 181-83.

"Celebrating Myself." American Poetry 8 (1990): 146-58.

"Uttering Mimesis." Occident 103.1 (1990): 120-24.

"Reading Sun." Occident 103.1 (1990): 81-83.

"Notes on Sound." Temblor 10 (1989): 209-12.

"Memo/ Re: Reading Stein." American Poetry 6.2 (1989): 22-32.

"Idea's Mirror." The Difficulties 3: 2 (1989): 43-45.

"Scalapino's Way." Temblor 8 (1988): 25-26.

"Writing/ One's Life." Temblor 6 (1987): 141-44.

"Writing/ Re: Memory." Temblor 6 (1987): 145-47.

"Cracking the Code." The Difficulties 3: 1 (1987): 76-86.

"Private Eye/Public Work." American Poetry 4: 3 (1987): .

"How to Reading." Poetics Journal 6 (1986): 117-22.

Lectures and Talks

"'Things Seen and Things Heard': Some Thoughts on Onstage and Offstage Action in Hamlet," Northern California Renaissance Conference, San Jose "'My Sudden and More Strange Return': Hamlet's Voyage to 'Elsewhere'" Northern California Renaissance Conference, Mills College, 4.27.02

"'I have remembrances of yours': Whatever Happened to Hamlet and Ophelia?" Northern California Renaissance Conference, University of California, Davis, 5.5.01

Talk on Listening to Reading, Mills College Academic Forum, 11.16.00

"Pedagogy and the Writer," Naropa University, Boulder, CO, 6.22.00

"Close(t) Reading: The Closet Scenes," Northern California Renaissance Conference, California State University, Chico, 5.6.00

"'What is he at the gate': Off-Stage Action in Twelfth Night," Shakespeare Association of America, Montreal, 3.8.00

"Reading (Cage) Silence," Twentieth-Century Literature Conference, University of Louisville, Louisville, KY, 2.26.00

"Bard Talk," California Shakespeare Festival, Orinda, CA, July 29, 1999

"Close[t] Reading: The Closet Scenes," Shakespeare Association of America, San Francisco, April 3, 1999

"Preface" to Mallarmé: poem in prose, Conference on Translation: Priorities, Theory, Practice, Stevens Institute, Hoboken, NJ, November 13, 1998

"Listening to Reading," Faculty Seminar, Mills College, November 5, 1998

"Bard Talk," California Shakespeare Festival, Orinda, CA, July 9, 1998

"What Doesn't Happen in Hamlet: 'Who's There/'," Northern California Renaissance Conference, U.C. Berkeley, April 25, 1998.

"Echoes," Edward de Vere Studies Conference, Concordia University, Portland, OR, April 4, 1998.

"What Doesn't Happen in Hamlet: The Ghost's Speech," New College Conference on Medieval-Renaissance Studies, Sarasota, FL, March 13, 1998

"What Doesn't Happen in Hamlet: The Ghost's Speech," Northern California Renaissance Conference, U.C. Davis, April 27, 1997

"What Doesn't Happen in Hamlet: The Ghost's Speech," Mills College Academic Forum, January 30, 1997

"What Doesn't Happen in Hamlet: The Ghost's Speech." Mills College Faculty Seminar, November 4, 1996

Interview for BBC Radio. Bolinas Museum, Bolinas, CA, July 11, 1996

"Hamlet As Improbable Fiction." Northern California Renaissance Conference, Mills College, April 27, 1996

"What Doesn't Happen in Hamlet: The Queen's Speech." New College Conference on Medieval and Renaissance Studies, Sarasota, FL, March 15, 1996

"Teaching Shakespeare in Performance." National Council of Teachers of English Conference, Louisville, KY, March 1, 1996

"Grenier's Scrawl." Twentieth Century Literature Conference," University of Louisville, Louisville, KY, February 24, 1996

"Hamlet As Improbable Fiction." Faculty Seminar, Mills College, February 13, 1996

"Reading (Cage) Silence." for "Here Comes Everybody: The Music, Art and Poetry of John Cage," Mills College. October 16, 1995.

"Hamlet As Improbable Fiction." Conference of Center for Renaissance and Shakespearean Staging, James Madison University, Harrisonburg, VA. August 11, 1995.

"'Shakespeare' and 'I'." Northern California Renaissance Conference, University of San Francisco. April 29, 1995.

Talk on Small Press Publishing, Mills College, March 14, 1995.

"What Doesn't Happen in Hamlet." Northern California Renaissance Conference, Sonoma State University. April 30, 1994.

"The Bard and 'I'." The New Freedoms: Contemporary American and Russian Poetry, Steevens Institute of Technology, Hoboken, NJ. April 9, 1994.

"A Symposium of the Imagination: Robert Duncan in Word and Image" (Introduction), Mills College. December 5, 1993.

"What Doesn't Happen in Hamlet" Mills College Faculty Seminar. November 23, 1993.

"The Poet and the World of Her Influences" Conference on Poetics, Mills College. October 11, 1993.

"'Nobody -- I Myself': Writing Shakespeare's [Private] 'I,'" Mills College Faculty Seminar. May 3, 1993.

"Conceal me what I am": Private and Public Meaning in Act 1, Scene 2 of Twelfth Night." Private Lives and Public Roles: Literature and the Arts 1500-1700, University of Central Florida. March 26, 1993.

"Celebrating Myself" Twentieth-Century Literature Conference, University of Louisville, Louisville, KY, February 22, 1991.

"Writing Echoes Writing." Bay Area Writers Workshop. Mills College. August 7, 1989.

"Notes on Sound." Bay Area Writers Workshop. Mills College. August 2, 1988.

"Alternative Directions in Recent American Poetry: What is Language Writing?" Faculty Lecture Series. Mills College. May 5, 1988.

"Memo/ RE: Reading Stein." Faculty Lecture Series. Mills College. December 8, 1987.

"The Science of Literature / The Literature of Science." Mills College. November 30, 1987.

"Interview with David Bromige." The Poetry Center, San Francisco State University. April 30, 1987.

"Private Eye/ Public Work": A Talk on Lyn Hejinian's The Guard." Faculty Lecture Series. Mills College. February 23, 1987.

Poetry Readings

Berkeley Art Center, Berkeley, 6.21.03
Basement Reading Series, San Francisco, 6.19.03
3030 ("Discrete Series"), Chicago, 5.9.03
Venue 9, San Francisco, 5.2.03
Cafe Melroy, San Francisco, 5.1.03
29 Grand Street, Oakland, 3.16.03
Diesel Books, Oakland, 3.9.03
New College, San Francisco, 3.6.03
Mills College Art Museum, 3.5.03
Green Integer Bookstore, Los Angeles, 2.22.02
Mills College, "Works in Progress Series," 2.4.03
Point Reyes Bookstore, Point Reyes Station, 11.23.02
City Lights Bookstore, San Francisco, 11.19.02
Stevens Institute of Technology "Bienniel Conference for
Contemporary Literary Translation, Hoboken, NJ 11.2.02
Salon Salon, Oakland, July.2, 2002
Headlands Center for the Arts, Sausalito, June 10, 2002
Stinson Beach Library, Stinson Beach, June 7, 2002
Barnes & Noble, Berkeley, May 19, 2002
Saint Mary's College, Moraga, April 11, 2002
Double Happiness, New York, March 16, 2002
Mills College, "Works in Progress Series," December 4, 2001
Niebaum-Coppola Cafe, San Francisco, October 16, 2001
Small Press Traffic, San Francisco, March 23, 2001
Zinc Bar, New York, March 22, 2001
Radio Habana Social Club, San Francisco, March 9, 2001
Mills College, "Works in Progress Series," February 6, 2001
Mills College, San Francisco Center for the Book reading for
Poets Pulling Prints, December 9, 2000
Cody's Books, Berkeley, September 16, 2000
Cody's Books, Berkeley, September 16.2000
Naropa University, Boulder, CO, June 22.2000
Diesel Books, Oakland, May 21.00
Mills College, "Works in Progress Series," December 7.1999
Mills College, "Music for People: Thingamajigs," December1.1999
Mills College, Borderbend, November 23.1999
Fort Mason, San Francisco, October 16.1999
Deakin Street Reading Series, Berkeley, June 10, 1999
Faultline Theater, San Diego, May 23, 1999
Mills College, Borderbend, April 21, 1999
Mills College, Reading for 580 Split, April 15, 1999
Mills College, Walrus reading, April 7, 1999
Stevens Institute, Hoboken, NJ, November 13, 1998
Canessa Park, San Francisco, October 18, 1998
Club Balcony, Los Angeles, September 20, 1998
Attic Club, San Francisco, August 1, 1998
Bolinas Gallery, Bolinas, July 23, 1998
New College, San Francisco, June 23, 1998
Modern Times Bookstore, San Francisco, November 14, 1998
Cinnebar Theater, Petaluma, November 10, 1997
U.C. Art Museum, Berkeley, June 15, 1997
New Langton Arts, San Francisco, May 17, 1997
Mills College, Walrus Reading, May 6, 1997
Ear Inn, New York, March 8, 1997.
Oliver's Books, San Anselmo, January 30, 1997
Mills College, Faculty Reading, November 18, 1996
Canessa Park, San Francisco, November 17, 1996
Mills College, Writers Harvest, November 14, 1996
Mills College, Alumnae Reading, October 5, 1996
Studio For, Oakland, June 27, 1996
Trinity University, San Antonio, TX, June 13, 1996
Word of Mouth, Boston, MA, May 29, 1996
Mills College, AWP Benefit Reading, May 3, 1996
Mills College, Reading for Walrus, May 2, 1996
U.C. Berkeley, Memorial Reading for Larry Eigner, April 10, 1996
Mills College Chapel, April 8, 1996
Minna Street Gallery, San Francisco, March 24, 1996
Art Center College of Design, Los Angeles, March 12, 1996
Sun & Moon Bookstore, Los Angeles, March 10, 1996
Intersection, San Francisco, January 16, 1996
New College, San Francisco, November 17, 1995
Diesel Books, Oakland, October 8, 1995
Cody's Books, Berkeley, September 27, 1995
Minna Street Gallery, San Francisco, August 21, 1995
Talk on Small Press Publishing, Mills College, March 14, 1995
Johnny Otis Caberet, Sebastopol, CA, February 6, 1995
Walrus Reading, Mills College, November 8 1994
Writers Harvest, Mills College, November 2, 1994
Intersection for the Arts, San Francisco,June 14, 1994
Steevens Institute of Technology, Hoboken, NJ, April 8, 1994
Faculty Seminar, Mills College, April 4, 1994
Walrus Reading, Mills College, March 16, 1994
Canessa Park Gallery, San Francisco, March 6, 1994
MFA Reading, Mills College, December 2, 1993
Walrus Reading, Mills College, November 81, 1993
Ear Inn, New York City, October 23, 1993
Cody's Books, Berkeley, September 22, 1993
The Depot, Mill Valley, June 10, 1993
Small Press Traffic, San Francisco, December 12, 1992
Small Press Traffic, San Francisco, December 11, 1992
BCPUD, Bolinas Poetry Project Reading, June 20, 1992
Torsiello Gallery, Oakland, Mills College Reading, April 23, 1992
Bolinas Community Center, November 18, 1991
Intersection, San Francisco, October 22, 1991
The Depot, Mill Valley, CA, August 7, 1991
Central Park, Buffalo, NY, March 18, 1991
Ear Inn, New York, NY March 16, 1991
University of Louisville, Louville, KY, February 23, 1991
Forrest Books, San Francisco, January 23, 1991
University of California at San Diego, November 14, 1990
Mills College, October 30, 1990
Simple Pleasures, San Francisco, October 22, 1990
Marin Poetry Center, Fairfax Library, August 22, 1990
Bolinas PUD, June 9, 1990
Canessa Park, San Francisco, April 22, 1990
Bay Area Writers Workshop, Mills College, August 7, 1989
Fort Mason Center, San Francisco, July 21, 1989
Sonoma State University, July 20, 1989
Marin Poetry Center, Corte Madera, July 11, 1989
The Depot Cafe, Mill Valley, June 26, 1989
BCPUD, Bolinas, May 19, 1989
Sweet Life Cafe, Santa Rosa, April 16, 1989
Small Press Traffic, San Francisco, April 2, 1989
The Poetry Project, New York, February 1, 1989
Small Press Traffic, San Francisco, November 13, 1988
Bay Area Writers Workshop, Mills College, August 2, 1988
Marin Poetry Center, July 20, 1988
Mills College, May 4, 1988
Fort Mason Center, San Francisco, April 4, 1988
Bolinas Library, March 23, 1988
Mills College, November 18, 1987
The Poetry Center, San Francisco State University, October 15, 1987
Richmond Art Center, October 13, 1987
Larry Blake's, Berkeley, August 17, 1987
Russian River Writers' Guild, Sebastopol, July 20, 1987
Bolinas Library, July 16, 1987
Small Press Traffic, San Francisco, July 9, 1987
Intersection, San Francisco, March 31, 1987
BCPUD, Bolinas, March 28, 1987


"Unbound & Undercovers: Experiments in Visual Writing," Berkeley Art Center, 6.8.03-7.27.03

"Untitled" Miniature Show, Bolinas Museum, Bolinas, CA 11.23.02-1.5.03

Idea's Mirror included in exhibition of An American Avant-Garde: Second Wave Ohio State University, Columbus OH, 6.20.02-9.3.02

"Ultramarine Blue," "Delaware Water Gap," "Import/Export," "The Savage" Beach Finds, Stinson Beach Library 5.24.02-8.16.02

"Rocks & Trees" Miniature Show, Bolinas Museum. November 24, 2001 - January 6, 2002

"Fender Medium" Miniature Show, Bolinas Museum. November 25, 2000 - January 7, 2001

"Untitled" Miniature Show, Bolinas Museum. November 27, 1999- January 9, 2000

"Untitled" Miniature Show, Bolinas Museum. December 1, 1998 - January 14, 1999

"Untitled" Miniature Show, Bolinas Museum. December 1, 1997 - January 14, 1998

"Untitled" Miniature Show, Bolinas Museum. December 1, 1996 - January 14, 1997

"Registers / People In All," "Japan" Bolinas Museum, May 10 - July 14, 1996

"Untitled" Miniature Show, Bolinas Museum. December 1, 1995 - January 14, 1996

"Collaboration," (Assemblage) Gallery Route One, Point Reyes Station, September 3 - 26, 1995

"Sculpture: Collages/Assemblages: 1985-1995." Gallery Route One, Point Reyes Station, June 2 - 26, 1995

"Expand the Image of Light" (Assemblage) Miniature Show, Bolinas Museum. November 27, 1992 - January 10, 1993

"Ultramarine Blue" (Assemblage) Miniature Show, Bolinas Museum. November 29, 1991 - January 12, 1992

Bolinas Museum Living Artists Project. Claudia Chapline Gallery. Stinson Beach. August 6 - September 9, 1989

Two Works ("Bain de Soleil," "Bungalos Pacifico") Bolinas Museum. September 2-25, 1988

Collage Series. Richmond Art Center. October 1 - November 17, 1987