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Alice Fulton curriculum VitAe 1

March 1, 2017

ALICE FULTONCurriculum Vitae

CONTACT

email: [email protected] phone: 607-272-7796 http://alicefulton.com 278 Goldwin Smith Hall, Cornell University, Ithaca, NY 14853-3201

EMPLOYMENT

2004– Ann S. Bowers Professor of English, Cornell University 2002–2003 Professor of English, Cornell University 2004 (fall term) Holloway Poet, University of California, Berkeley 1992–2001 Professor of English, University of Michigan 1990–1992 Associate Professor of English, University of Michigan1991 (spring quarter) Visiting Professor, University of California, Los Angeles 1987 (winter term) Visiting Professor of Creative Writing, Vermont College MFA Program 1986–1990 William Wilhartz Assistant Professor of English, University of Michigan 1983–1986 Fellow, Society of Fellows, and Assistant Professor, University of Michigan

EDUCATION

1982 MFA, Cornell University, Ithaca, N.Y. 1978 BA, Empire State College, Albany, N.Y.

FELLOWSHIPS, AWARDS, AND HONORS

2011 American Academy of Arts and Letters Award in Literature 2005 National Endowment for the Arts Literature Fellowship in Poetry 2002 The Rebekah Johnson Bobbitt Poetry Prize from the Library of Congress awarded to Felt 2002 Felt, finalist, Los Angeles Times Book Award 2001 Felt, designated a Best Book of 2001 by the Los Angeles Times 1999 Literature, Science and Arts Excellence in Research Award, University of Michigan 1997 The Editor’s Prize in Fiction, the Missouri Review 1996–2000 Senior Fellow, Michigan Society of Fellows 1991–1996 Fellow, John D. and Catherine T. MacArthur Foundation 1994 Doctor of Letters honoris causa, State University of New York 1993 The Elizabeth Matchett Stover Award, the Southwest Review 1991 Individual Grant in Literature, Michigan Council for the Arts 1991 Washtenaw Council for the Arts, Annie Award for Poetry 1990 The Ingram Merrill Foundation Award 1990 The Henry Russel Award for promise of distinction in writing and excellence in teaching, University of Michigan 1986–1990 The William Wilhartz endowed chair for junior faculty, University of Michigan 1989 The Bess Hokin Prize, Poetry 1988 Member of the American Delegation, Chinese/American Writers’ Conference, Beijing, Xian, Leshan,Wuhan, and Shanghai, Peoples Republic of China 1986–1987 Fellow, John Simon Guggenheim Foundation 1987 The Society of Midland Authors Poetry Award for Palladium 1986 Individual Grant in Literature, Michigan Council for the Arts


1986 Schuylkill County Council for the Arts International Poetry Competition Award 1983–1986 Fellow, Michigan Society of Fellows 1985 The National Poetry Series Award for Palladium 1984 John Atherton Fellow in Poetry, Bread Loaf Writers’ Conference 1984 Rainer Maria Rilke Award 1984 Consuelo Ford Award, Poetry Society of America 1982–1983 Fellow, Fine Arts Work Center in Provincetown 1982 Associated Writing Programs Award in Poetry 1980–1981 Sage Graduate Fellowship, Cornell University 1980 Emily Dickinson Award, Poetry Society of America 1978–1979 Scholarship, The Writers Community, New York

BOOKS

POETRY

Barely Composed (W.W. Norton, New York, February 2015; London March 2015). Cascade Experiment: Selected Poems (W.W. Norton, New York, 2004; London, 2006). Felt (Winner of The Rebekah Johnson Bobbitt Poetry Prize from the Library of Congress; W.W. Norton, New York, 2001;

London, 2002). Sensual Math (W.W. Norton, New York, 1995; London, 1997).Powers Of Congress (originally published by David R. Godine, Boston, 1990; reissued by Sarabande Books, Louisville, 2001).Palladium (Winner of the National Poetry Series Competition; University of Illinois Press, Urbana and Chicago, 1986). Dance Script With Electric Ballerina (Winner of the Associated Writing Programs Award in Poetry, originally published by Uni-

versity of Pennsylvania Press, Philadelphia, 1983; reissued by University of Illinois Press, Urbana and Chicago, 1996).Anchors Of Light (limited edition poetry chapbook, Swamp Press, Oneonta, N.Y., 1979).

ESSAYS

Feeling as a Foreign Language: The Good Strangeness of Poetry (Graywolf Press, St. Paul, 1999).

FICTION

The Nightingales of Troy (W.W. Norton, New York, 2008).

POETRY—FIRST PUBLICATION

Great Lakes: Image & Word, exhibition catalog, Patricia Clark and Jinny Jenkins, curators (Grand Valley State University, Al-lendale, Michigan) 2016, pp. 20–21. “Vessel.”

The Inauguration of Elizabeth Garrett: Cornell’s Thirteenth President, Peter Potter, ed. (Cornell University Press, Ithaca) 2015. “Inaugural This & That Q & A.”

Academy of American Poets (online and e-mail Poem-A-Day feature, New York). “Doha Thing Long Thought and Kind.” April 22, 2015.

Poetry (204:4:332–334, July/Aug. 2014, Chicago). “Triptych For Topological Heart.”Smartish Pace (21:42-44, April 2014, Baltimore). “End Fetish 3: An Index of Last Lines” and “Still World Nocturne.”The New Yorker (March 25, 2013, pp. 66–67, New York). “The Next Big Thing.”The Atlantic (311:4:63, May 2013, Washington, D.C.). “Sidereal Elegy.”Poetry (203:1:8–13, Oct. 2013, Chicago). “Make It New,” “Personally Engraved,” “You Own It.”Tin House (57:152–157, fall 2013 , Portland, Ore.). “Forcible Touching.”Academy of American Poets (online and e-mail Poem-A-Day feature for Sept. 6, 2013, New York). “Roar Shack.”Crazyhorse (83:30–33, spring 2013, Charleston, S.C.). “Zampolit,” “Like Alice In Underland,” and “Reckoning Frame.”CURA (9:87–90, 2013, New York). “End Fetish 5: An Index of Last Lines,” “Because We Never Practiced With The Escape

Chamber,” and “Starpom.”Little Star (4:17–29, 2012, New York). “Active Night,” “After the Angelectomy,” “Custom Clamshell Cases,” “Personal Reac-


tor,” and “Sheep Pen.”Poetry Review (102:3:20–21 Autumn 2012, London, U.K.). “After the Angelectomy,” and from “Rondo For Singing Clock:

Because We Never Practiced With The Escape Chamber.”Antioch Review (70:3:472–475, summer 2012, Los Angeles, Cal.). “My Task Now Is To Solve The Bells,” “Peroral,” and “The

Scream Park Confessions.”Poetry (200:3:126-131, May 2012, Chicago). “Daynight With Mountains Tied Inside,” “End Fetish 3: An Index Of Last

Lines,” “Wow Moment.”The Chronicle of Higher Education, “Monday’s Poem: ‘After The Angelectomy’ by Alice Fulton,” May 12, 2012.The New Yorker (February 13–20, 2012, pp. 82–83, New York). “Malus Domestica.”Kenyon Review (33:3:13–18, summer 2011, Gambier, Ohio). “A Gift Economy,” “End Fetish 1: An Index of Last Lines,” and

“A Lightenment On New Year’s Eve.”Fifth Wednesday (8:168–171, spring 2011, Lisle, Ill.). “A Tongue-Tie Of Vet Wrap” and “End Fetish 2: An Index of Last Lines.”The Atlantic (March 2011, Washington, D.C.). “Mahamudra Elegy.”The New Yorker (August 2, 2010, p. 54, New York). “Claustrophilia.”Antioch Review (67:1:71–73, winter 2009, Los Angeles, Cal.). “Black Salve” and “Call Me You-Boat.”Seattle Review (27:2:43–44, 2005, Seattle, Wash.). “Barely Composed.” Also manuscript facsimiles of “==,” “Immersion,” and

“The Lines Are Wound On Wooden Bobbins, Formerly Bones.”Drunken Boat, “About Music For Bone And Membrane Instrument ==,” “Sequel,” number 3, fall-winter, 2001-2002. http://

www.drunkenboat.com/db3/fulton/fulton.htmlPN Review (27:3:62, January-February 2001, Manchester, England). “The Permeable Past Tense of Feel.”The Atlantic (286:3:87, September 2000, Boston, Mass.). “Fix.”Conduit (9:3:hydrometer-match, fall 2000, Minneapolis, Minn.). “Passion Vote,” “The Permeable Past Tense of Feel,”

“Warmth Scuplture.”Southern California Anthology (September 2000, Los Angeles, Cal.). “Fair Use.”Five Points (5:1:72–74, fall 2000, Atlanta, Ga.). “Duty Free Spirits.”The Rialto (46:23, summer 2000, Aylshan, Norwich, England). “Fair Use.”Thumbscrew (14:88–93, autumn 1999, Oxford, England). “Strings.”Gulf Coast (11:1:5–7, winter 1999, Houston, Tex.). “The Fabula Rasa.”Ploughshares, 25:114–19, spring 1999, Boston, Mass.). “Maidenhead.”Thumbscrew (12:67, winter 1998-99, Oxford, England, 1998). “Failure.”Poetry (171:1:21, October–November 1997, Chicago, Ill.). “Ornamental.”TriQuarterly (98:40, winter 1996/97, Evanston, Ill.). “Failure.”Denver Quarterly (31:2:28–31, Denver, fall 1996). “Close.”Parnassus (20:1&2, New York, 1996.) “A Party Of One.”TriQuarterly (95:172–175, winter 1995/96, Evanston, Ill.). “World Wrap.”The Kenyon Review (17:2:97–100, spring 1995, Gambier, Ohio). “Drills,” and “Echo Location.”TriQuarterly (92:56–66, winter 1994/95, Evanston, Ill.). “Take: A Roman Wedding,” “Turn: A Version,” “Stereo.”The American Voice (35:159–171, autumn 1994, Louisville, Ky.). “A Foreplay;” “Mail;” “The Lines Are Wound On Wooden

Bobbins, Formerly Bones;” “A New Release.”Pequod (38:58–70, 1994, New York). “Undoing,” “Splice: A Grotesque,” and “Supernal.”Epoch (43:1:76–79, 1994, Ithaca, N.Y.). “Trespass” and “Unwanting.”Postmodern Culture (vol. 4, no. 3, May 1994, New York, [email protected], fn ft:fulton–A.594): “Southbound In A North-

bound Lane,” “Call The Mainland,” and “==.”Chicago Review (40:1:1–9, 1994, Chicago). “Fuzzy Feelings,” “Garish,” and “By Her Own Hand.”Chelsea (55:44–46, 1993, New York). “About Face” and “Immersion.”The New Yorker (July 19, 1993, p. 64, New York). “Industrial Lace.”Parnassus (17:2&18:1:53–75, 1993, New York). “My Last TV Campaign.”Southwest Review (78:1:51–53, winter 1993, Dallas, Tex.). “Sketch” and “The Priming Is A Negligee.”The American Voice (26:55–58, Spring 1992, Louisville, Ky.). “Slate” and “A.M.: The Hopeful Monster.”Parnassus (16:2:389–390, 1991, New York). “Training The Girl’s Changing Voice.”Ploughshares (17:2&3:27–28, 20th anniversary issue, 1991, Cambridge, Mass.). “A Little Heart–To–Heart With The Horizon.”Arete (2:6:174–175, summer 1990, San Diego, Calif.). “The European Theater” and “Eve.”


The Yale Review (79:2:227, winter 1990, New Haven, Conn.). “The Fractal Lanes.”The New Republic (Oct. 8, 1990, p. 36, Washington, D.C.). “Trophies.”The Paris Review (32:115:263–266, summer 1990, New York). “Silencer” and “For In Them The Void Becomes Eloquent.”New American Writing (6:70–71, spring 1990, Chicago). “Our Calling.”Kenyon Review (12:3:1–7, summer 1990, Gambier, Ohio). “Aunt I.”The Partisan Review (57:2:279–280, spring 1990, Boston). “The Pivotal Kingdom.”Grand Street (9:1:166–168, autumn 1989, New York). “Cascade Experiment” and “Everything to Go.”The Hudson Review (42:3:441–443, autumn 1989, New York). “The Collected Carmen Lionhart.”Boulevard (4:2:75–78, fall 1989, New York). “Romance In The Dark” and “The Expense Of Spirit.”Ontario Review (31:20–22, 15th-Anniversary Issue, fall–winter 1989–90, Princeton, N.J.). “The Private Sector.”Epoch (38:2:143–146, 1989 series, Ithaca, N.Y.). “Concerning Things That Can Be Doubted.”The Gettysburg Review (2:2:211–212, spring 1989, Gettysburg, Pa.). “Disorder Is A Measure Of Warmth.”The New Republic (March 13, 1989, p. 35, Washington, D.C.). “The Orthodox Waltz.”The Atlantic (Dec. 1988, p. 63, Boston). “Powers Of Congress.”Poetry (153:2:79–83, Nov. 1988, Chicago). “Self–Storage” and “A Union House.”Michigan Quarterly Review (27:4:558–563, fall 1988, Ann Arbor, Mich.). “Small Objects Within Reach” and “Hardware.”The Paris Review (108:37–44, fall 1988, New York). “Cusp” and “Art Thou The Thing I Wanted.”Epoch (37:1:7–9, spring 1988, Ithaca, N.Y.). “Losing It.”Poetry (151:1&2:53, 75th Anniversary Issue, Oct. 1987, Chicago). “Trouble In Mind.”View (1:2:23, 1987, Detroit, Mich.). “A Clinical Essay On Your Absence.”Poetry East (20&21:214–216, fall 1986, Chicago). “Behavioral Geography.”The Boston Review (11:4:25, Aug. 1986, Cambridge, Mass.). “The Wreckage Entrepreneur.”The New Yorker (April 7, 1986, p. 40, New York). “The New Affluence.”Poetry (147:6:319–323, March 1986, Chicago). “The Body Opulent” and “Another Troy.”Southwest Review (71:1:64–65, winter 1986, Dallas, Tex.). “Peripheral Vision.”Virginia Quarterly Review (62:1:42–43, winter 1986, Charlottesville, Va.). “When Bosses Sank Steel Islands.”The Boston Review (10:6:15, Dec. 1985, Cambridge, Mass.). “Aunt Madelyn At The White Sale.”South Carolina Review (18:1:31–34, fall 1985, Clemson, S.C.). “Well, Pain’s Wildwood Looks Refined,” “For Phyllis, Whose

Name Means Leafy,” and “Never Leave Elation Unattended.”Primavera (9:62, 1985, Chicago). “Mary Studies The Apple Tree.”Parnassus (12:2 & 13:1:577–579, 1985, New York). “Men’s Studies: Roman de la Rose.”Poetry (145:6:340–341, March 1985, Chicago). “Fierce Girl Playing Hopscotch” and “Nugget & Dust.”West Branch (17:15–19, 1985, Lewisburg, Pa.). “Semaphores And Hemispheres.”Yale Review (74:3:450–451, spring 1985, New Haven, Conn.). “603 West Liberty St.”Ploughshares (11:1:97–103, 1985, Cambridge, Mass.). “Works on Paper,” “Fables From The Random,” and “On The Charms

Of Absentee Gardens.”Michigan Quarterly Review (24:1:91–92, winter 1985, Ann Arbor, Mich.). “Risk Management.”The New Yorker (January 7, 1985, p. 32, New York). “The Ice Storm.”Sierra Madre Review (winter 1984/85, pp. 33–37, Sierra Madre, Calif.). “Fictions Of The Feminine: Quasi–Carnal Creatures

From The Cloud Decks Of Venus.”River Styx (15:55–59, 1984, St. Louis, Mo.). “Let A Hunchbacked Cemetary Show You,” “The Fortunes Of Aunt Fran,” and

“Days Through Starch And Bluing.”Antioch Review (41:4:464, fall 1984, Yellow Springs, Ohio). “Night Gold.”Hubbub (2:2:31–34, fall 1984, Portland, Oreg.). “All Night Shivering” and “Appetite And Thrift: A Two Step.”The New Yorker (June 25, 1984, p. 38, New York). “Scumbling.”The Boston Review (9:3:14, June 1984, Cambridge, Mass.). “Obsessions.”The New Yorker (April 2, 1984, p. 48, New York). “News Of The Occluded Cyclone.”Painted Bride Quarterly (22:15, spring 1984, Philadelphia, Pa.). “Trouble.”Poetry (143:4:205–211, January 1984, Chicago). “My Second Marriage To My First Husband,” “Babies,” “Aviation,” and

“Traveling Light.”Another Chicago Magazine (8:46–52, 1983, Chicago). “Going Motions.”Bad Henry Review (1983, p. 7, Brooklyn, N.Y.). “The Magistrate’s Escape.”


Poetry (142:4:192–193, July 1983, Chicago). “Doing The Evolution Shuffle” and “Plumbline.”Georgia Review (37:2:263–265, summer 1983, Athens, Ga.). “Dance Script With Electric Ballerina.”American Scholar (52:3:394–395, summer 1983, Washington, D.C.). “Between The Apple And The Stars.”The Fiddlehead (136:49–51, June 1983, Fredericton, New Brunswick, Canada). “Sister Madeleine Pleads For Our Mary.”Shankpainter 23 (spring 1983, pp. 82–84, Provincetown, Mass.). “Rose Fever” and “Yours & Mine.”Helicon Nine (9:18–21, 1983, Kansas City, Mo.). “Where Are The Stars Pristine” and “Fugitive.”Ploughshares (9:1:110–114, 1983, Cambridge, Mass.). “The Apartment Of Consumer Affairs” and “From Our Mary To Me.”The Alchemist (2:4:38–40, 1983, LaSalle, Quebec). “Flight Patterns” and “Green Beans Were Always In Season.”Poet Lore (77:4:225–226, winter 1983, Washington, D.C.). “Needfire, This Low Heaven.”Carolina Quarterly (35:2:54–55, winter 1983, Chapel Hill, N.C.). “Nursery Rhyme 1916” and “Sketching Uncle John, The

Unsung, Till Now, Samaritan & More.”Virginia Quarterly Review (59:4:686–691, autumn 1983, Charlottesville, Va.). “The Perpetual Light” and “Reeling Back The

Saffron.”Poetry (141:4:224, January 1983, Chicago). “What I Like.”Michigan Quarterly Review (22:1:97, winter 1983, Ann Arbor, Mich.). “In The Beginning.”Epoch (33:1:54–56, fall–winter 1983, Ithaca, N.Y.). “Everyone Knows The World Is Ending.”Ambit (88:26, 1982, London, England). “Two Cries And A Clutch.”Poetry Now (7:1:14, Issue 37, 1982, Eureka, Calif.). “Second Sight” and “Toward Clairvoyance.”Rainy Day (7:2:18–42, fall 1982, Ithaca, N.Y.). “Mandate From The Banished: A Sequence Of Poems.”Confrontation (24:88, summer 1982, Brooklyn, N.Y.). “Chance Music.”The Antigonish Review (49:44, spring 1982, Antigonish, Nova Scotia). “Body Surfing” and “The Breakers.”Croton Review (5:4, 1982, Croton-on-Hudson, N.Y.). “Rip Van Sixties Awakes.”High Rock Review (3:47, 1982, Saratoga Springs, N.Y.). “Snow Kiln.”Intro 12 (12:192–193, 1981, Norfolk, Va.). “Life Above The Permafrost.”Northeast Journal (2:2:38, 1981, Providence, R.I.). “Chain Letters.”Valhalla (8:6, 1981, Estfield, N.J.). “The Composer Comes Home In The City.”Beloit Poetry Journal (31:4:7, summer 1981, Beloit, Wis.). “My Diamond Stud.”Bellingham Review (4:1:10, spring 1981, Bellingham, Wash.). “The Bundled–Well–Hung–Up–Tight–Don’t–Put–That–In–

Your–Mouth–It’s–Poisoned Blues.”Antenna (1980, p. 53, San Diego, Calif.). “The Spare Dark Room.”Aspen Anthology (10:31–32, winter 1980, Aspen, Colo.). “Diminuendo” and “Bad Actor.”The Modularist Review (3:34–35, 1977–1980, Maspeth, N.Y.). “3000 Mute Swans Go Wild Over East Coast.”Format (3:4:14, Dec. 1980, St. Charles, Ill.). “Magic Mold, The Security Device People Are Talking About.”Buckle (3:1:unpaginated, fall–winter 1979–1980, Buffalo, N.Y.). “Twelve Ways To Tie A String Around Its Stomach and Lead

It Home.”Poet & Critic (11:2:2–4, 1979, Ames, Iowa). “This November Your Lyrical Lies” and “The Endangered.”Dark Horse (16:13, fall 1978, Somerville, Mass.). “Classified.”The Little Magazine (12:1&2:103, 1978, New York). “Agoraphobia.”Berkeley Poets Cooperative/12 (12:49, 1978, Berkeley, Calif.). “The Changelings.”Boxspring (7:16–17, spring 1978). “Forcing White Lilacs.”Greenfield Review (6:3&4:127–128, spring 1978, Greenfield Center, N.Y.). “All Blankets Should Be White” and “Murder

Mystery.”Ponchartrain Review (2:3:unpaginated, fall 1979, Chalmette, La.). “There Are No New Habits, There Are No Such Animals.”Urthkin (1979, pp. 30–35, Los Angeles, Calif.). “Intense Dude, Heavy Brother,” “Sestina For Janis Joplin,” “Sex With Some-

one Who Resembles Hemingway, Disguised,” and “Sheets.”Poets On (2:1:41, winter 1978, Chaplin, Conn.). “It Should Have Been Venice, City Of Romance, But.”The Runner (Dec. 1978, p. 71, New York). “Agonist Of The Acceleration Lane.”Small Pond (15:3:20, fall 1978, Stratford, Conn.). “The History Of Dogs.”Washout Review (2:3&4:65–93, 1977, Schenectady, N.Y.). “Dangerous Conversations” (with Dennis Holzman).Washout Review (1:4:30–31, 1976, Schenectady, N.Y.). “How To Swing Those Obbligatos Around,” “Tuning Forks,” and

“Your Card Read ‘Poet–Mechanic’”Washout Review (1:3:57, 1976, Schenectady, N.Y.). “Alive Like A Blind Pianist.”


POETRY—ANTHOLOGIES AND REPRINTS

From the Finger Lakes: A Poetry Anthology, Peter Fortunato and Jack Hopper, eds. (Cayuga Lake Books, Ithaca) 2016, pp. 67-68. “Because We Never Practiced With The Escape Chamber” and “Still World Nocturne.”

Academy of American Poets (online and e-mail Teach this Poem feature, New York). “Doha Thing Long Thought and Kind.” December 14, 2015.

Union, Alvin Pang and Ravi Shankar eds. (Ethos Books, Singapore) 2015, pp. 157-169. “About Music For Bone And Mem-brane Instrument ==.”

The Inauguration of Elizabeth Garrett: Cornell’s Thirteenth President, Peter Potter, ed. (Cornell University Press, Ithaca) 2015. “Slate” and “Shy One.”

American Poets: The Journal of the Academy of American Poets (New York), Spring-summer 2015, vol. 48, p. 53. “Still World Nocturne.”

Poetry in Medicine, Michael Salcman, ed. (Persea, New York) 2015, pp. 84-85. “Claustrophilia.”The Best of the Best American Poetry: 25th Anniversary Edition, Robert Pinsky, ed. (Scribner, New York) 2013, pp. 73, 260.

“Powers Of Congress.” The Hide-and-Seek Muse: Annotations of Contemporary Poetry, Lisa Russ Spaar, Drunken Boat Media, 2013. “After The Angelec-

tomy.”Feminist International Relations: Exquisite Corpse, Marysia Zalewski, Routledge, 2013. “Cascade Experiment.”Alhambra Poetry Calendar 2013, Shafiq Naz, ed., (Alhambra Publishing: Bertem, Belgium) November 2012. “Sequel.”Alhambra Poetry Calendar for Young Readers 2013, Shafiq Naz, ed., (Alhambra Publishing: Bertem, Belgium) November 2012.

“Your Card Read Poet Mechanic.”The Open Door: 100 Poems,100 Years of Poetry Magazine, Don Share and Christian Wiman, eds., University of Chicago Press,

2012, p. 92. “What I Like.”The Penguin Anthology of Twentieth-Century American Poetry, Rita Dove, ed. (Viking Penguin, New York) 2011, pp. 492-493.

“Our Calling.”Antioch Review 70th Anniversary Issue (69:4:894–895, fall 2011, Los Angeles, Cal.). “Call Me You-Boat.”Anthology for PCL Intro to Literature, X.J. Kennedy and Dana Gioia, eds., Pearson Learning Solutions, Boston, 2011. “What I

Like.”When Love Speaks: Poetry and Prose for Weddings, Relationships and Married Life, Adam O’Riordan, ed. (Vintage Classics, Lon-

don) 2011, pp. 210-211. “My Second Marriage To My First Husband.”American Hybrid: A Norton Anthology of New Poetry, Cole Swensen and David St.John, eds. (W.W. Norton, New York) 2010,

pp. 123–129.“The Permeable Past Tense of Feel” and “Warmth Sculpture.” Alhambra Poetry Calendar 2010, Shafiq Naz, ed. (Alhambra Publishing: Bertem, Belgium) September 2009, p. 85. “Scum-

bling.”“100 Poets Against the War, Christian Narkiewicz-Laine, ed., (Metropolitan Arts Press, Dublin, Ireland) 2008. “Our Calling,

2005.”Women’s Work: Modern Women Poets Writing in English, Eva Salzman and Amy Wack, eds., (Seren, Bridgend, Wales, UK) 2009.

“What I Like” and “My Diamond Stud.” Alhambra Poetry Calendar 2008: 366 Classic and Contemporary Poems, Shafiq Naz, ed. (Alhambra Publishing, Bertem Belgium,

2008. “Yours & Mine.”Alhambra Poetry Calendar 2008 (The Book): 366 Classic and Contemporary Poems, Shafiq Naz, ed. (Alhambra Publishing, Ber-

tem Belgium, 2008. “Yours & Mine.”Poetry Calendar 2007 Anthology: 365 Classic and Contemporary Poems, Shafiq Naz, ed. (Alhambra Publishing, Bertem Belgium,

2007) p. 422. “Failure.” Quote Poet Unquote: Contemporary Quotations on Poets and Poetry, Dennis O’Driscoll, ed., Copper Canyon Press, Port

Townsend, 2008, pp. 115, 144, 248.Third Rail: An Anthology of Poetry about Rock & Roll, Jonathan Wells, ed. (MTV Books/Pocket Books, New York, 2007). “You

Can’t Rhumboogie In A Ball And Chain.”The Pushcart Book of Poetry: The Best Poems from the First 30 Years of the Pushcart Prize, Joan Murray, ed. (Pushcart Press, Wain-

scott, N.Y., 2006) pp. 378–379. “A.M.: The Hopeful Monster.”Innovative Women Poets: An Anthology of Contemporary Poetry and Interviews, Elisabeth A. Frost and Cynthia Hogue, eds., Uni-

versity of Iowa Press, Iowa City, 2006, pp. 141–153. “==,” “Fuzzy Feelings,” “Undoing,” “Supernal,” and “The Permeable


Past Tense of Feel.”“Forty-nine Love Poems from Recent Books (The Poetry Foundation, Chicago, 2007–2012 ) http://www.poetryfoundation.org/

archive/feature.html?id=179307. “Yours & Mine.”At Evening: A Collection of Contemporary Poetry and Prose on Dying and Grieving, Bridget McGarry, ed. (Kent State University

Press, Ohio, forthcoming). “Drills.”The Eye of the Beholder: A Poet’s Gallery, Maurya Simon and Elizabeth Aamot, eds. (forthcoming). “Close.”Like a Fragile Index of the World: Poems in Honor of David Skorton, Alice Fulton, ed. (Cornell University, Ithaca, 2006). “Slate.”Poetry News London, UK, summer 2006, p. 3. “You Can’t Rhumboogie In A Ball And Chain.”Meeting The Universe Halfway: Quantum Physics and the Entaglement of Matter and Meaning, Karen Barad (Duke University

Press, Chapel Hill, 2006). “Cascade Experiment.”Poetry Out Loud, Dan Stone and Stephen Young, eds. (Poetry Foundation, Chicago, and The National Endowment for the

Arts, Washington, 2006). “Fierce Girl Playing Hopscotch.” Under the Rock Umbrella: Contemporary American Poets from 1951–1977, William Walsh, ed., with an introduction by Jack

Myers, (Mercer University Press, Atlanta, 2006), pp 128–131. “The Great Aunts Of My Childhood,” “Fierce Girl Playing Hopscotch,” “Sequel,” and “Failure.”

Literature: An Introduction to Fiction, Poetry, and Drama, 9th ed., X.J. Kennedy and Dana Gioia, eds. (Longman, forthcoming). “What I Like.”

Manthology: Poems on the Male Experience, Craig Crist-Evans and Kate Fetherston eds. (University of Iowa Press, Iowa City, 2006). “Supernal.”

The Book of Irish American Poetry from the 18th Century to the Present, Daniel Tobin, ed. (Notre Dame University Press, 2006). “Cusp,” “Days Through Starch And Bluing,” “Everyone Knows The World Is Ending,” “Industrial Lace,” and “Maiden-head.”

250 Poems: A Portable Anthology, Peter Schakel and Jack Ridl, eds. (Bedford/St. Martin’s, New York) 2005. “You Can’t Rhum-boogie In A Ball And Chain.”

Folio, Washington, DC., spring 2005, 20:2:64–68. “Failure,” “The Permeable Past Tense of Feel,” “Slate.”180 More: Extraordinary Poems for Every Day, Billy Collins, ed. (Random House, New York, 2005). “By Her Own Hand.” Wordlens, M.L. Leibler and John Sobczak, eds., with photographs by John Sobczak. “Failure.”Hudson River Art, Hudson, N.Y., spring 2004, pp. 12–13. “Close.”Poetry Daily: 366 Poems from the World’s Most Popular Poetry Website, Diane Boller, Don Selby, Chris Yosst, eds. (Sourcebooks,

Naperville, 2003), p. 337. “Fix.”Twentieth-Century American Poetry, Dana Gioia, David Mason, and Meg Schoerke, eds., (McGraw-Hill, New York, 2004), pp.

995–996. “The Expense Of Spirit” and “What I Like.”The Poetry Anthology 1912–2002, Joseph Parisi, ed. (Ivan R. Dee, Chicago, 2002). “Doing The Evolution Shuffle” and “Fierce

Girl Playing Hopscotch.”The Independent, London, UK, The Sunday Poem, April 28, 2002. “Failure.” Literature: An Introduction to Fiction, Poetry, and Drama, 8th ed., X.J. Kennedy and Dana Gioia, eds. (Longman, 2002), pp.

993. “What I Like.”Poets of the New Century, Roger Weingarten and Richard M. Higgerson, eds. (David R. Godine, Jaffrey, New Hampshire,

2001), pp. 100-104. “Split The Lark.”Flora Poetica: The Chatto Book of Botanical Verse, Sarah Maguire, ed. (Chatto & Windus, Ltd., London, England, 2001), pp.

187–188, 275–276. “Forcing White Lilacs” and “Rose Fever.”De/Compositions, W. D. Snograss, eds. (Graywolf Press, St. Paul, Minn., 2001), pp. 124–125. “The Bundled-Well-Hung-Up-

Tight-Don’t-Put-That-In-Your-Mouth-It’s-Poisoned Blues.”All Shook Up: Collected Poems about Elvis, Will Clemens, ed. (University of Arkansas Press, Fayetteville, 2001), pp. 65–89. “El-

vis From The Waist Up,” “Mail,” “A New Release,” “About Face,” and “Some Cool.”The Washington Post, Poet’s Corner, August 6, 2000. “What I Like” and “The Orthodox Waltz.”The Extraordinary Tide: New Poetry by American Women, Susan Aizenberg and Erin Belieu, eds. (Columbia University Press,

New York, 2001), pp. 114–117. “Wonder Bread,” “Take: A Roman Wedding,” and “==.”Visiting Emily: Poems Inspired by the Life and Work of Emily Dickinson, Sheila Coghill and Thom Tammaro, eds. (University of

Iowa Press, Iowa City, 2001), p. 36. “Wonder Bread.”The Huron River: Voices from the Watershed, Keith Taylor and John Knott, eds. (University of Michigan Press, Ann Arbor,

2000), pp. 156–158. “The Permeable Past Tense of Feel.”


A Fine Excess: Contemporary Literature at Play, Kirby Gann and Kristin Herbert, eds. (Sarabande Books, Louisville, 2000), pp. 201–202. “Babies.”

New Poems from the Third Coast, Michael Delp, Conrad Hilberry, Josie Kearns, eds. (Wayne State University Press, Detroit, 2000), pp. 62–67, 314–315. “Failure,” “Close,” “Call The Mainland.”

Western Wind: An Introduction to Poetry, 4th ed., John Frederick Nims and David Mason, eds. (McGraw–Hill, New York, 2000), pp. 26, 31, 39, 279, 561–562, 585. “News Of The Occluded Cyclone” and “What I Like” (poems and comment).

And What Rough Beast: Poems at the End of the Century, Robert McGovern and Stephen Haven, eds. (Ashland Poetry Press, Ashland, Oregon, 1999), pp. 66–68. “About Face” and “A Little Heart To Heart With The Horizon.”

The Best of the Best American Poetry, 1988–1997, Harold Bloom, ed. (Scribners, New York, 1998), pp. 113, 314–315. “Powers Of Congress” (poem and comment).

Roth’s American Poetry Annual 1997 CD-ROM (Roth Publishing, Great Neck, N.Y., 1997). “The New Affluence,” “Trouble in Mind,” and “Cascade Experiment.”

Many Lights in Many Windows: Twenty Years of Great Fiction and Poetry from The Writer’s Community, Laurel Blossom, ed. (Milkweed Editions, 1997), pp. 90–93. “Sketch” and “Slate.”

Quick Take (3:1:9, summer 1997, Evanston, Ill.). “Failure” (poem).A Visit to the Gallery, Richard Tillinghast, ed. (University of Michigan Press, Ann Arbor, 1997), pp. 71–73. “Close.”Approaching Poetry, Peter Schakel and Jack Ridl, eds. (St. Martin’s, New York, 1997), pp. 128–129. “You Can’t Rhumboogie In

A Ball And Chain”Emergency Kit: Poems for Strange Times, Jo Shapcott and Matthew Sweeney, eds. (Faber & Faber, London, 1996), pp. 232–233.

“My Second Marriage To My First Husband.”Ecstatic Occasions, Expedient Forms: Leading Contemporary Poets Select and Comment on Their Poems, revised edition, David

Lehman, ed. (University of Michigan Press, 1996), pp. 56–60. “Everyone Knows The World Is Ending” (poem and com-ment).

Albany (spring 1996, Albany, N.Y.). “Industrial Lace.”Writing Poems, 4th edition, Robert Wallace and Michelle Boisseau, eds. (HarperCollins, New York, 1996), p. 212. “The Or-

thodox Waltz.”A Year in Verse, Thomas Foster and Elizabeth Clark Guthrie, eds. (Crown Publishing Group, New York, 1995), pp. 90–91. For

March 16th: “Another Troy.”Wherever Home Begins, Paul Janeczko, ed. (Orchard Books, New York, 1995), pp. 21–22. “Everything To Go.”I Will Breathe a Mountain: A Song Cycle from American Women Poets, William Bolcom, composer (Edward B. Marks Music

Company, New York, 1995), pp. 7–12. “How To Swing Those Obbligatos Around.”For a Living: The Poetry of Work, Nicholas Coles and Peter Oresick eds. (University of Illinois Press, Champaign, 1995), pp.

162–167. “Fictions of the Feminine: Quasi–Carnal Creatures From The Cloud Decks Of Venus.”Literature: An Introduction to Fiction, Poetry, and Drama, 6th ed., X.J. Kennedy and Dana Gioia, eds. (HarperCollins, New

York, 1995), pp. 686, 794–795. “What I Like.”Articulations: The Body and Illness in Poetry, John Mukand, ed., (Iowa, Iowa City, 1994), p. 5. “Well, Pain’s Wildwood Looks

Refined.”After Ovid: New Metamorphoses, Michael Hofmann and James Lasdun, eds. (Faber and Faber, London, 1994; Farrar, Straus &

Giroux, New York, 1995), pp. 28–58. “Give: A Sequence Reimagining Daphne and Apollo.”An Introduction to Poetry, 8th ed., X.J. Kennedy and Dana Gioia, eds. (HarperCollins, New York, 1994), pp. 104, 212–213.

“What I Like.”Quick Take (2:1:6–7, fall 1994, Evanston, Ill.). “Take: A Roman Wedding.”The Best American Poetry, 1994, A.R. Ammons, ed. (Collier Macmillan, New York, 1994), pp. 55–56, 223–224. “The Priming

Is A Negligee” (poem and comment).Walk on the Wild Side:Urban American Poetry Since 1975, Nicholas Christopher, ed. (Collier Books, New York, 1994), pp.

63–66. “My Diamond Stud,” “Risk Management,” “The Wreckage Entrepreneur.”Cape Discovery: The Provincetown Fine Arts Work Center Anthology, Bruce Smith and Catherine Gammon, eds. (Sheep Meadow

Press, Riverdale-on-Hudson, N.Y., 1994), pp. 99–100. “A Little Heart-To-Heart With The Horizon.”The Pushcart Prize XVIII: Best of the Small Presses, 1993–1994, Bill Henderson, ed. (Pushcart Press, Wainscott, N.Y., 1993), pp.

161–162. “A.M.: The Hopeful Monster.”Modern American Poets, 2d ed., Robert DiYanni, ed. (McGraw–Hill, New York, 1993). “My Second Marriage To My First


Husband.”Literature in English: Writers and Styles from Anglo-Saxon Times to the Present (Prentice-Hall Canada Inc., Scarborough, On-

tario, 1993). “Everyone Knows The World Is Ending.”The McGraw-Hill Book of Poetry, Robert DiYanni and Kraft Rompf, eds. (McGraw-Hill, New York, 1993). “Dance Script

With Electric Ballerina.”Literature for Composition, Sven Birkerts (Allyn & Bacon, Boston, 1993). “Your Card Read ‘Poet-Mechanic’,” “The Gone

Years,” and “Two Cries & A Clutch.”Looking for Your Name, Paul Janeczko, ed. (Orchard Books, New York, 1993), pp. 74–75. “When Bosses Sank Steel Islands.”Poems for a Small Planet: Contemporary American Nature Poetry, Robert Pack and Jay Parini, eds. (University Press of New

England, Hanover and London, 1993), pp. 75–77. “A Little Heart-To-Heart With The Horizon” and “A.M.: The Hopeful Monster.”

The Best American Poetry, 1992, Charles Simic, ed. (Collier Macmillan, New York, 1992), pp. 49–50, 219–220. “A Little Heart-To-Heart With The Horizon” (poem and comment).

Roth’s American Poetry Annual 1990 (Roth Publishing, Great Neck, N.Y., 1991). “Cascade Experiment.”New American Poets of the ’90s, Jack Myers and Roger Weingarten, eds. (David R. Godine, Boston, 1991), pp. 85–91. “Cherry

Bombs,” “Powers Of Congress,” and “Self–Storage.”The Best American Poetry, 1991, Mark Strand, ed. (Collier Macmillan, New York, 1991), pp. 52–53, 280–281. “The Fractal

Lanes” (poem and comment).Seasonal Performances: A Michigan Quarterly Review Reader, Laurence Goldstein, ed. (University of Michigan Press, Ann Arbor,

1991), pp. 327–329. “Hardware.”The Jazz Poetry Anthology, Sascha Feinstein and Yusef Komunyakaa, eds. (Indiana University Press, Bloomington, 1991), pp.

63–64. “You Can’t Rhumboogie In A Ball And Chain.”The Best American Poetry, 1989, Donald Hall, ed. (Collier Macmillan, New York, 1989), pp. 59, 258. “Powers Of Congress”

(poem and comment).Arvon International Poetry Competition, 1987 Anthology, Ted Hughes and Seamus Heaney, eds. (Arvon Foundation, Devon,

England, 1989), pp. 93–97. “Engaged,” from “OVERLORD,” a sequence of poems.Vital Signs: Contemporary American Poetry from the University Presses, Ronald Wallace, ed. (University of Wisconsin Press, Madi-

son, 1989), pp. 113–115. “Everyone Knows The World Is Ending” and “Plumbline.”Roth’s American Poetry Annual 1988, H. Weintraub, ed. (Roth Publishing, Great Neck, N.Y., 1989). “Trouble In Mind.”The Best American Poetry, 1988, John Ashbery, ed. (Collier Macmillan, New York, 1988), pp. 48–51, 217–218. “Losing It”

(poem and comment).Annual Survey of American Poetry, 1986 (Roth Publishing, Great Neck, N.Y., 1987). “The New Affluence.”Contemporary Michigan Poetry: Poems from the Third Coast, Herb Scott, Michael Delp, and Jack Driscoll, eds. (Wayne State

University Press, Detroit, 1988), pp. 82–86. “The New Affluence” and “Nugget And Dust.”Ecstatic Occasions, Expedient Forms: 65 Leading Contemporary Poets Select and Comment on Their Poems, David Lehman, ed.

(Macmillan, New York, 1987), pp. 49–53. “Everyone Knows The World Is Ending” (poem and comment).Keener Sounds: Selected Poems from The Georgia Review, Stanley W. Lindberg and Stephen Corey, eds. (University of Georgia

Press, Athens, 1987), pp. 48–50. “Dance Script With Electric Ballerina.”The Ploughshares Poetry Reader, Joyce Peseroff, ed. (Ploughshares Books, Watertown, 1986), pp. 83–85. “From Our Mary To

Me.”The Georgia Review’s Fortieth Anniversary Poetry Retrospective (40:3:666–68, fall 1986, Athens, Ga.). “Dance Script With Elec-

tric Ballerina.”New American Poets of the ’80s, Jack Myers and Roger Weingarten, eds. (Wampeter Press, Green Harbor, Mass., 1984), pp.

67–73. “My Second Marriage To My First Husband,” “News Of The Occluded Cyclone,” “Terrestrial Magnetism,” and “Traveling Light.”

New Voices/1979–1983, May Swenson, ed. (Academy of American Poets, New York, 1984), pp. 47–48. “Needfire, This Low Heaven.”

Sotheby’s Poetry Competition 1982 Anthology, Gwendolyn Brooks, Basil Bunting, Stephen Spender, et al., eds. (Arvon Founda-tion, Devon, England, 1984), pp. 124–125. “My Second Marriage To My First Husband.”

Strings: A Gathering of Family Poems, Paul Janeczko, ed. (Bradbury Press, Scarsdale, N.Y., 1984), pp. 72, 122–123. “The Gone Years” and “The Great Aunts Of My Childhood.”


The Poet Dreaming in the Artist’s House (Milkweed Chronicle Press, Minneapolis, Minn., 1984), p. 79. “The Magistrate’s Escape.”

The Wings, the Vines (McBooks Press, Ithaca, N.Y., 1983), pp. 24–44. “How To Swing Those Obbligatos Around” (a sequence of poems).

Leaving the Bough: 50 American Poets of the Eighties, Roger Gaess, ed. (International, New York, 1982), pp. 66–67. “How To Swing Those Obbligatos Around” and “Chain Letters.”

Contents Under Pressure: A Portable Gallery of Visual and Verbal Art, Fred H. Laughter, ed. (Moonlight Publications, LaJolla, Calif., 1981), pp. 206–207. “Living In Uncommon Time” and “Galloping Ennui.”

ESSAYS AND NONFICTION—FIRST PUBLICATION

A Broken Thing: Contemporary Poets on the Line, Emily Rosko and Anton Vander Zee, eds. (University of Iowa Press, Iowa City, 2011), pp. 94–96. “As a Means Shaped by Its Container.”

Language and Learning Across the Disciplines (6:2:154–180, winter 2003, Fort Collins, Colo.), “Unsettling Knowledge: A Po-etry/Science Trialog,” Jonathan Monroe, Alice Fulton, Roald Hoffmann (essay).

An Exaltation of Forms, Kathrine Varnes and Annie Finch, eds. (University of Michigan Press, 2002). “Fractal Amplifications” (excerpt).

Storie: Pomeriggio (Afternoon) (Rome, Italy, 2001), pp. 117–118. “Ten Minutes at the Cafe Zola.” The Measured Word: On Poetry and Science, Kurt Brown, ed. (University of Georgia Press, Athens, 2001), pp. 110–126. “Fractal

Amplifications: Writing in Three Dimensions” (essay).Kenyon Review (21:2:124–139, spring 1999, Gambier, Ohio). “Fractal Amplifications: Writing in Three Dimensions” (essay).Thumbscrew (12:53–66, winter 1998–99, Oxford, England). “Fractal Amplifications: Writing in Three Dimensions” (essay).Introspections: American Poets on One of Their Poems, Robert Pack and Jay Parini, eds. (University Press of New England, 1997),

pp. 102–107. “A Descant on ‘Echo Location’” (comment).Green Mountains Review (9:2 & 10:1:97–109, 10th Anniversary Double Issue, 1997, Johnson, Vt.). “A Poetry of Inconvenient

Knowledge” (essay).Tolstoy’s Dictaphone: Technology and the Muse, Sven Birkerts, ed. (Graywolf Press, St. Paul, Minn., 1996), pp. 102–119.

“Screens: An Alchemical Scrapbook” (essay).The Poet’s Notebook: Excerpts from the Notebooks of 26 American Poets, Stephen Kuusisto, Deborah Tall, and David Weiss, eds.

(W.W. Norton, New York, 1995), pp. 43–64 (essay).The Emily Dickinson Journal (2:2:97–103, 1993, Boulder, Colo.). “Outlandish Powers: Dickinson’s Capsizals of Genre and

Tone” (essay).In a Word: A Dictionary of Neologisms, Jack Hitt, ed. (Dell Books, New York, 1992, “The Intrepid Linguist” series), pp. 24,

60–61, 127–128, 130–131, 174–175.Parnassus (16:2:301–326, 1991, New York). “To Organize a Waterfall” (essay).Epoch (38:2:143–146, 1989 series, Ithaca, N.Y.). “Play Dough” (comment).Parnassus (15:1:9–44, Fifteenth Anniversary Issue, 1989, New York). “Her Moment of Brocade: The Reconstruction of Emily

Dickinson” (essay).Pembroke Magazine (18:219–228, 1986, Pembroke, N.C.). “A Gentle Luxury: A Reminiscence of A. R. Ammons” (essay).Poetry East (20&21:200–213, fall 1986, New York & Charlottesville, Va.). “Of Formal, Free, and Fractal Verse: Singing the

Body Eclectic” (essay).Epoch (33:1:54–56, fall–winter 1983, Ithaca, N.Y.). “Everyone Knows the World Is Ending” (comment).

ESSAYS AND NONFICTION—ANTHOLOGIES AND REPRINTS

Green Mountains Review 25th Anniversary Retrospective Issue, “A Poetry of Inconvenient Knowledge,” 25:1:94–106, 2012.American Poetic Theory: From the Puritans to the Present, Thom Tommaro, ed. (University of Iowa Press, Iowa City, 2008). “A

Poetry of Inconvenient Knowledge” (essay). Quote Poet Unquote: Contemporary Quotations on Poets and Poetry, Dennis O’Driscoll, ed (Copper Canyon Press, Port

Townsend, 2008, pp. 115, 144, 248.Poetry for Students 25, Mark Milne, ed. (Gale Group, Farmington Hills, 2006). Alec Marsh and Alice Fulton, “A Conversation

with Alice Fulton” (interview).


Interdisciplinary Science Review, Howard Cattermole, ed. (Maney, Surrey, UK), “Fractal Poetics: Adaptation and Complexity,” 30:4:1–8 2005 (essay).

Considering the Radiance: Essays on A.R. Ammons, David Burak, Roger Gilbert, et al., eds., (W.W. Norton, New York, 2005). “A Gentle Luxury” (essay).

Lofty Dogmas: Poets on Poetics, Maxine Kumin, Annie Finch, and Deborah Brown, eds., (University of Arkansas Press, Fayette-ville, 2005), pp. 273–275. “On Formal, Free, and Fractal Verse: Singing the Body Eclectic” (essay).

Twentieth-Century American Poetics: Poets on the Art of Poetry, Dana Gioia, David Mason, and Meg Schoerke, eds., (McGraw-Hill, New York, 2004), pp. 470–478. “On Formal, Free, and Fractal Verse: Singing the Body Eclectic” (essay).

The Measured Word: Essays about Poetry and Science, Kurt Brown, ed. (University of Georgia Press, Athens, 2001). “Fractal Amplifications: Writing in Three Dimensions” (essay).

Green Thoughts, Green Shade: Contemporary Poets on Seventeenth Century Verse, Jonathan Post, ed. (University of California Press, 2001) pp. 191–219. “Unordinary Passions: Margaret Cavendish, The Duchess of Newcastle” (essay).

Nineteenth Century Literary Criticism, Suzanne Dewsbury, ed. (Gale, Farmington Hills, 2000). “Her Moment of Brocade: The Reconstruction of Emily Dickinson (essay).

The Nation, “A Poetry of Inconvenient Knowledge,” June 14, 1999, pp. 40, 42–48 (essay); August 23/30, 2000, pp. 2, 23 (let-ters).

Poetry East, no. 47-48:67–79, April 1999, “Of Formal, Free, and Fractal Verse: Singing The Body Eclectic” (essay).Poetry: An Introduction, 2d ed., Michael Meyer, ed. (Bedford, New York, 1998), pp. 517–518. “On the Validity of Free Verse”

(comment).Literature: Reading Fiction, Poetry, Drama, and the Essay, 4th ed., Robert DiYanni, ed. (McGraw-Hill, New York, 1998), pp.

1996–1997. “On the Validity of Free Verse” (comment).The Bedford Introduction to Literature, fourth edition, Michael Meyer, ed. (Bedford Books, Boston, 1996), pp. 1064–1065.

“On the Validity of Free Verse” (comment).DISCovering Authors: Poets, (Gale Research, Detroit, 1995). CD-ROM, magnetic tape, Internet online, “Alice Fulton on Caro-

lyn Kizer” (review/comment).Poetry: An Introduction, Michael Meyer, ed. (St. Martin’s, New York, 1995), pp. 512–513. “On the Validity of Free Verse”

(comment).Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today’s Novelists, Poets, Playwrights, Short Story Writers,

Scriptwriters, and Other Creative Writers, Daniel G. Marowski and Roger Matuz, eds., (Gale Research, Detroit, 1994). “Alice Fulton on Carolyn Kizer” (review/comment).

Conversant Essays: Contemporary Poets on Poetry, James McCorkle, ed. (Wayne State University Press, Detroit, 1990), pp. 185–193. “Of Formal, Free, and Fractal Verse: Singing the Body Eclectic” (essay).

Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today’s Novelists, Poets, Playwrights, Short Story Writers, Scriptwriters, and Other Creative Writers, Daniel G. Marowski and Roger Matuz, eds., (Gale Research, Detroit, 1989). “Alice Fulton on A.R. Ammons” (review/comment).

Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today’s Novelists, Poets, Playwrights, Short Story Writers, Scriptwriters, and Other Creative Writers, Daniel G. Marowski and Roger Matuz, eds., (Gale Research, Detroit, 1988). “Alice Fulton on Lisel Mueller” (review/comment).

REVIEWS AND COMMENTARIES ON OTHERS—FIRST PUBLICATION

Judge’s forward to Rotary Devotions by Gary Keenan (Fordham University Press, New York, forthcoming 2017). Judge’s forward to Corinna A-Maying the Apocalypse by Darcie Dennigan (Fordham University Press, New York, 2008). The Boston Review (Cambridge, Mass., 30:3-4:48, summer 2005). “A Poet’s Sampler” (An introduction to poems by Melanie

Cooley).Epoch (Ithaca, New York, 52:3:378–379, 2004). “‘Red Edges:’ On a Roll with Archie.”Kenyon Review (Gambier, Ohio, spring 2000). “Incarnational Verse,” An introduction to poems by Larissa Szporluk in the New

Voices series.Chelsea (67:65, Dec. 1999, New York). “Stephanie Ivanoff,” An introduction to poems by Stephanie Ivanoff in the Mentors

series.The Kiss of Pages Turning (The Loft Literary Center, Minneapolis, 1998). Introduction to The McKnight Awards of Distinction

anthology (judge’s comment).


American Poet (New York, summer 1998). “The Walt Whitman Award–Alice Fulton on Jan Heller Levi’s Once I Gazed at You in Wonder” (judge’s comment).

When, poems by Baron Wormser (Sarabande Books, Louisville, 1997), pp. ix–xv (judge’s foreword).Kenyon Review (Gambier, Ohio, 17:2:xiv, spring 1995). “The Kenyon Review’s Award for Literary Excellence in Poetry–Alice

Fulton on Elizabeth Alexander” (judge’s comment).Poetry (159:1:42–58, Oct. 1991, Chicago). “On the Plains of Fancy” (review essay).The Boston Review (16:5:12, Oct. 1991, Cambridge, Mass.). “A Poet’s Sampler: Kathleen Halme” (An introduction to poems

by Kathleen Halme).Washington Post Book World (20:24:10, June 17, 1990). “Scalpers on Parnassus” (review).Poetry (151:4:360–377, Jan. 1988, Chicago). “Main Things” (review essay).Poetry (150:3:162–174, June 1987, Chicago). “State of the Art” (review essay).Michigan Quarterly Review (24:3:492–501, summer 1985, Ann Arbor). “Three Poets in Pursuit of America” (review).

FICTION—FIRST PUBLICATION

International Literary Quarterly (London, 2008). “The Nightingales of Troy” (short story excerpt). Tin House (9:3:38-53, summer 2008, Portland, Ore.). “A Shadow Table” (short story). Epoch (54:1:49–61, 2005, Ithaca, N.Y.). “Centrally Isolated” (short story).Gettysburg Review (16:4:521–542, winter 2003, Gettysburg, Pa.). “The Real Eleanor Rigby” (short story).Georgia Review (57:1:100–126, spring 2003, Athens). “If It’s Not Too Much to Ask” (short story).Missouri Review (21:1:91–107, spring 1998, Columbia). “Happy Dust” (short story).Writers Harvest II, Ethan Canin, ed., (Harcourt Brace, New York, 1996), pp. 104 –121. “The Glorious Mysteries” (short story).Lands’ End (July catalog 1994, Dodgeville, Wis.). “Mars, Ivory, Lamp” (short-short story).TriQuarterly (84:46–57, spring–summer 1992, Evanston, Ill.). “Queen Wintergreen” (short story).

FICTION—ANTHOLOGIES, REPRINTS

From the Finger Lakes: A Fiction Anthology, Edward Hower and Rhian Ellis, eds. (Cayuga Lake Books, Ithaca) 2016, pp. 89-103. “The Glorious Mysteries.”

The Best American Short Stories 2009, Alice Sebold, guest ed., and Heidi Pitlor, annual ed. (Houghton Mifflin Harcourt: Bos-ton) 2009.

The Long Meanwhile: Stories of Coming and Going, Molly McQuade, ed. (Hourglass Books, Lindenhurst, Ill., 2008), “If It’s Not Too Much to Ask,” (short story).

Peculiar Pilgrims: Stories from the Left Hand of God, Linda Wendling, ed. (Hourglass Books, Lindenhurst, Ill., 2007), pp. 28–58,163–186. “The Real Eleanor Rigby” and “Happy Dust” (short stories).

Pushcart Prize XXIX Anthology (Pushcart Press, Wainscott, NY, 2005), pp. 279–301. “The Real Eleanor Rigby”(short story).Cabbage and Bones: Irish American Womens’ Writing, Caledonia Kearns, ed., (Henry Holt & Company, New York, 1997), pp.

129–143. “Queen Wintergreen” (short story).The Best American Short Stories, 1993, Louise Erdrich, guest ed., and Katrina Kenison, annual ed., (Houghton Mifflin Com-

pany, Boston, 1993), pp. 63–76. “Queen Wintergreen” (short story and comment).The Best American Short Stories, 1999, Amy Tan, guest ed., and Katrina Kenison, annual ed., (Houghton Mifflin Company,

Boston, 1999), p. 392, “Happy Dust” cited among 100 Distinguished Stories of 1998.

INTERVIEWS WITH ME—PRINT, BROADCAST, VIDEO

Rae Gouirand, “Time’s Way of Thinking: An Interview with Alice Fulton,” The California Journal of Poetics, issue 2, 2016. http://www.californiapoetics.org/interviews/6927/times-way-of-thinking-an-interview-with-alice-fulton/

Roger Gilbert, In a Word, Cornell University, May 13, 2016. https://www.youtube.com/watch?v=XeQ1q0DQ4v8Ron Charles, Life of a Poet series sponsored by the Library of Congress and Washington Post, Nov. 4, 2015, Hill Center, Old

Naval Hospital, Washington D.C. https://www.youtube.com/watch?v=XCZQEJDhunQRoger Gilbert, English at Cornell: A Newsletter from the Department of English, Ithaca, N.Y., Vol. 18, summer 2015.Steven Critelli, Against Interpretation, http://rockcru.wordpress.com, forthcoming. Daniel Aloi, “From Trauma, Fulton Finds Darkness, Light in Poetry,” Cornell Chronicle, March 5, 2015, http://www.news.


cornell.edu/stories/2015/03/trauma-fulton-finds-darkness-light-poetry. Tish Pearlman, Out of Bounds, WEOS, Geneva, and WSKG, Binghamton, New York, February 28 and March 1, 2015. Michael Silverblatt, “Alice Fulton,” Bookworm, June 6, 2013, KCRW Santa Monica, California, archived online, http://www.

kcrw.com/etc/programs/bw/bw130606alice_fulton_cascade.Alice Baumgartner, “Our Poets on Their Poetry: Alice Fulton,” The New Yorker online, July 28, 2010.Les Kay, “An Interview with Alice Fulton,” Memorious, Issue 15, October 2010.Joanie Mackowski, “An Interview with Alice Fulton recorded for the George Elliston Poet Archives,” University of Cincinnati,

May 21, 2010.Alan Fox, “Conversation between Alice Fulton and Alan Fox in Ithaca, N.Y., May 23rd, 2009,” Rattle, Winter 2009, No. 32,

pp. 147–163. Lee Austin, “Alice Fulton Discusses Her Fiction and Poetry,” Utah Access Public Radio, November 3, 2009.Doug Fabrizio, “Radio West,” conversation with Barry Mazur and Fred Lerdahl, KUER Utah Radio broadcast Nov. 6, 2009. C.J. Lais Jr., “Alice Fulton Discusses Tales of Troy,” Albany Times Union Book Section, November 9, 2008.David A. Solomon, “Alice Fulton, the 2008 Carol Ann Donahue Poet,” on-stage interview, The Sage Colleges, Oct. 2, 2008.Thea Brown, “Author Interview: Alice Fulton,” The L Magazine, September 24, 2008. Daniel Aloi, “Alice Fulton Explores Family-Based Fiction in ‘Nightingales of Troy’” Cornell Chronicle, Sept. 5, 2008. “Karen Rigby chats with poet Alice Fulton about her first collection of short stories, The Nightingales of Troy.” BookBrowse.

com, August 12, 2008. Tish Pearlman, “Out of Bounds,” WEOS Geneva, New York, July 31, 2008. Anna Mundow, “Legends of Troy: Interview,” Irish Times Magazine (Dublin), July 12, 2008. Anna Mundow, “Distilling Decades into Fiction: An Interview with Alice Fulton,” Boston Globe, June 29, 2008. Joe Donohue, “The Roundtable,” WAMC Albany, New York, Thursday, June 26, 2008. Jayne Fenton Keane, “An interview with Alice Fulton,” for broadcast by Australian Broadcasting Company ABC in Australia

(http://www.abc.net.au/rn/arts/poetica).Cynthia Hogue and Cristanne Miller, “An Interview with Alice Fulton by Cristanne Miller” in Elisabeth A. Frost and Cynthia

Hogue, eds., Innovative Women Poets: An Anthology of Contemporary Poetry and Interviews, University of Iowa Press, Iowa City, 2006, pp. 123–140.

Tish Pearlman, “Out of Bounds,” WEOS Geneva, New York, Thursday, March 15, 2006. Ashley David, “An Interview with Alice Fulton,” The Living Writers Show, a one-hour radio talk show Jan. 25, 2006, WCBN,

Ann Arbor, Mich., archived online (http://141.211.233.117/rss/Living_Writers/wcbn-living_writers-2006-01-25-16:30:01-EST.mp3).

Library of Congress archive interview, the National Mall, September 25, 2005, video.David Inge, “An Interview with Alice Fulton,” Focus 580, a one-hour radio talk show Oct. 11, 2005, WILL, Champaign-Urba-

na, Illinois, archived online (http://will.illinois.edu/focus/interview/focus051011b/).Linden Ontjes, “‘The Wick That Is the White between the Ink,’” Seattle Review 27:2:24–44.Lauren Fanelli, “An interview with Alice Fulton,” Folio, 20:2:49–63, spring 2005.Sarah Cohen, “Justice + Beauty = Sublime,” The Atlantic online, recorded May 5, July 2004 (archived).Glenn Altschuler, “A Conversation with Alice Fulton” Cornell Cybertower, recorded April 12, 2004, and presented as the May

feature forum on the Cornell Cybertower website.Paul Elisha, “Bard’s Eye View,” WAMC/Northeast Public Radio, broadcast in two parts, April 28 and 29, 2003.Barbara Klein, “Main Street,” Voice of America, March 20, 2003.Nate Brown, “A Conversation with Poet and Professor Alice Fulton,” Cornell Daily Sun, Jan. 31, 2002.Eric Lorberer, “Language As Felt: An Interview with Alice Fulton,” Rain Taxi 6:2:16–19 Summer 2001.Cristanne Miller, “An Interview with Alice Fulton,” Contemporary Literature 38:4:585–615, winter 1997.Barbara Petoskey, “An Interview with Alice Fulton,” Associated Writing Programs Chronicle (May/summer 1998), pp. 24–29.Alec Marsh, “A Conversation with Alice Fulton,” TriQuarterly 98:22–39, winter 1996/97.Barbara J. Petoskey, “Alice Fulton’s Powers of Poetry,” Writer’s Digest (Cincinnati, Ohio), Sept. 1991, pp. 36–39 (interview).“Alice Fulton Talks with Karen Clark: The Poetic Process #6,” Poetry Society of America Newsletter (New York), fall 1988, pp.

4–11.Suzanne Tainter, “Crafting Memorable Language,” Research News (Ann Arbor) June–Aug. 1988, pp. 2–8.Elinor Benedict, “The Narrator as Discoverer,” Passages North (Escanaba, Mich.), winter 1988, pp. 6–8.Barbara J. Petoskey, “An Interview with Alice Fulton,” Amelia (Bakersfield, Calif.), 5:2:136–139, 1988.


Dona Rosu, “The Electric Ballerina,” Michigan Today (Ann Arbor), Feb. 1987, pp. 1–3.

MY TRANSLATIONS OF OTHERS—FIRST PUBLICATION

The Odes of Horace, J. D. McClatchy, ed. (Princeton University Press, Princeton) 2002. English translation of Horace, Book 1, Ode XXVIII-(1 and 2).

Yale Review, 90:3:40–42, July 2002. English translation of Horace, Book 3, Ode XXVII.

ELECTRONIC REPRINTS

Tongue. “A Thinkable Rampage,” “Beholder,” “Doha Melt-Down Elegy,” “End Fetish 6: An Index Of Last Lines,” Dispatch 3.1, February 6, 2017. http://tonguejournal.org/beta/?cat=16

Columbia Granger’s World of Poetry online database at columbiagrangers.org, 2014. “Triptych For Topological Heart.”Kenyon Review website, “A Lightenment On New Years Eve,” December 6, 2013. Antioch Review website — Poem Wednesday, “My Task Now Is To Solve The Bells,” November 13, 2013, and Antioch Review

blog November 20, 2013. Poetry International Rotterdam online at http://usa.poetryinternationalweb.org, October 2013. “‘Make It New’,” “Personally

Engraved,” “Triptych For Topological Heart,” “You Own It,” “Daynight With Mountains Tied Inside,” “End Fetish: An Index Of Last Lines,” and “Wow Moment.”

Columbia Granger’s World of Poetry online database at columbiagrangers.org, May 2012. “Daynight With Mountains Tied Inside,” “End Fetish: An Index Of Last Lines,” and “Wow Moment.”

The Huffington Post, April 2012, featured poem on huffingtonpost.com. “Barely Composed.”Bedford Select, an online database for course use, also a Bedford/St.Martin’s paperback, March 2012. “You Can’t Rhumboogie

In A Ball And Chain.”Poetry Foundation Online Archive, “Yours & Mine,” “Aunt Madelyn At The White Sale,” and “Where Are The Stars Pristine,”

2012-2017.The Kennedy Collection, Joe Kennedy and Dana Gioia, eds., Pearson Education, password protected online ebook, 2012.

“What I Like.”National Recitation Contest Poetry Out Loud, 2011-2012, a high school poetry program of the National Endowment for the

Arts in conjunction with state arts agencies and the Poetry Foundation. “Fierce Girl Playing Hopscotch.”The Knox Writers’ Project, online audio recording archive, forthcoming 2012. “==,” “After The Angelectomy,” “Close,” “Echo

Location,” “For In Them The Void Becomes Eloquent,” “Immersion,” “In The Beginning,” “Rondos For Singing Clock,” “My Task Now Is To Solve The Bells,” “Palladium Process,” “Peripheral Vision,” “Southbound In A Northbound Lane,” “The Priming Is A Negligee,” “Traveling Light,” “Undoing,” “What I Like,” “Wow Moment,” “Yours & Mine,” and ex-cerpts from “A Poetry Of Inconvenient Knowledge,” “L’Air Du Temps,” and “Personal Reactor.”

Atlantic online, April 29, 2010. “Fix.”Poetry Foundation online, 2011-2016. “Fierce Girl Playing Hopscotch.”Columbia Granger’s World of Poetry, “What I Like,” http://www.columbiagrangers.org, 2009.Bedford/St. Martin’s online anthology, “You Can’t Rhumboogie In A Ball And Chain” a password-protected online database for

printing in custom anthologies for course use in colleges and universities in North America between 2006 and 2011.“Aunt Madelyn At The White Sale,” “Aviation,” “Babies,” “My Second Marriage To My First Husband,” “The Wreckage Entrepre-

neur,” and “Where Are The Stars Pristine,” in The Poetry Foundation Archive, http://www.poetryfoundation.org/archive/ between 2007 and 2012.

Poetry Daily, “’Red Edges:’ On a Roll with Archie,” www.poems.com/commeful.htm” Poetry Daily, “The Priming Is A Negligee” and “Art Thou The Thing I Wanted,” http://www.poems.com/twopoful.htmAcademy of American Poets, “About Face,” http://www.poets.org/lit/POEM/afulto01.htmThe Atlantic Monthly, “Fix,” (Text and Real Audio download) http://www.theatlantic.com/unbound/poetry/antholog/fulton/

fix.htmDial-A-Book, “Fix,” “Failure,” “Call the Mainland,” “Sequel,” “Passion Vote,” www.dialabook.come-verse archive, “About Face,” http://www.milkweed.org/everse/3_1_3_31.htmlJournal of PostModern Culture, “==,” “Call The Mainland,” “Southbound In A Northbound Lane,” http://jefferson.village.

virginia.edu/pmc/text-only/issue.594/fulton-a.594Missouri Review, “Happy Dust,” http://www.missourireview.org/fiction/fulton.html


Ploughshares, “A Little Heart To Heart With The Horizon,” “Fables From The Random,” “From Our Mary To Me,” “Maiden-head,” “On The Charms Of Absentee Gardens,” “The Apartment Of Consumer Affairs,” “Works On Paper,” http://www.emerson.edu/ploughshares/

Poetry Daily, “Fix,” “Maidenhead,” http://www.poems.com/feltfult.htmWashington Post, “The Orthodox Waltz,” “What I Like,” http://www.washingtonpost.com/wp-dyn/articles/A40842-2000Aug5.

htmlTwentieth-Century American Poetry, CD-ROM (Chadwyck-Healey, Cambridge, England, 1999) and Twentieth-Century Ameri-

can Poetry – Literature Online (http://www.chadwyck.co.uk), Sensual Math complete electronic reprint.

AUDIO-LIBRETTI, RECORDINGS, EXHIBITIONS, ETC.

Poetry Foundation online digital audio archive, recorded May 23, 2016: “After the Angelectomy,” “Because We Never Practiced With the Escape Chamber,” “Claustrophilia,” “Daynight, With Mountains Tied Inside,” “Fierce Girl Playing Hop-scotch,” “‘Make It New,’” “Personally Engraved,” “Traveling Light,” “Triptych for Topological Heart,” “What I Like,” “Wow Moment,” “You Own It.”

Lyric Visions: Artists Respond to Poetry, State of the Art Gallery, Ithaca, N.Y. January–February 2016, artist Jan Krather, curated by Tish Pearlman.

Great Lakes: Image & Word, Grand Valley State University Art Gallery Performing Arts Center exhibition, January 19–April 1, 2016, collaboration with sculptor Kim Cridler, curated by Patricia Clark and Jinny Jenkins. Giclee print of “Vessels,” and steel sculpture Basin with steel text of “Vessels,” acquired by GVSU Museum permanent collection, Allendale, Michigan.

How To Swing Those Obbligatos Around, with setting by William Bolcom, performed at Bryn Mawr College Celebration of American Women Poets in Song, March 28, 2014; the Academy of Vocal Arts Lyric Fest, Philadelphia, Pa., March 30, 2014; Bristol Chapel, Westminster Choir College, Princeton, NJ, July 15, 2014; and Coe College, Cedar Rapids, Iowa, September 27, 2014.

Improbable Encounters, settings by Joseph Klein, “Three Poems from Felt (after Alice Fulton),” Innova CD #873, 2014. The New Yorker, “The Next Big Thing,” audio recording for their tablet edition and spoken-word archive, March 2013. The Poetry Magazine website, “What I Like,” Audio Poem of the Day, July 4, 2013. Yours and Mine: Three Love Songs on Poems of Alice Fulton, settings by Douglas Ovens, Empire Theatre, Allentown, Pa., Febru-

ary 20, 2013.Call The Mainland, setting by Anthony Cornicello, Eastern Connecticut State University, April 14, 2013.Improbable Encounters, Joseph Klein settings of “Prequel,” “By Her Own Hand,” “Call The Mainland,” Innova Label #873,

2013. Personally Engraved, setting of the poem by the indie band “Consumers” for EP#6, published by Musical Family Tree,

Indianapolis, in the series EP in a Weekend, November 15-17, 2013. Poems for a Quarter Century, Menil Collection, Houston, Tex., exhibition of ekphrastic poetry by Rilke, Kevin Young, Alice

Fulton, John Ashbery, Jorie Graham, and Frank O’Hara, Nov. 3, 2012.Three Poems by Alice Fulton, settings by Douglas Ovens for soprano and vibraphone,“My Diamond Stud,” “Two Cries & A

Clutch,” and “Yours & Mine.” World premiere performance at Baker Center for the Arts, Allentown, Pa., March 13, 2012.

How To Swing Those Obbligatos Around, setting by William Bolcom, performed at the Colburn Music Conservatory, Los Ange-les, June 20; the International Music Festival, Orvieto Italy, June 30; Lee University School of Music, Chattanooga, Tenn., Feb. 5, 2013.

Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards, American Academy of Arts and Letters, 633 W 155 St., New York, May 19 to June 12, 2011.

The New Yorker, “Claustrophilia,” audio recording for their tablet edition and spoken-word archive. …turns and turns into the night, settings of “The Priming Is A Negligee,” “= =,” “Immersion,” and “A New Release,” by An-

thony Cornicello, C.F. Peters Music Publishers, Glendale, N.Y., Frankfurt, London, 2007. Disorder is a Measure of Warmth by Michelle McQuade Dewhirst, setting of “Disorder Is A Measure Of Warmth,” for soprano,

viola, and piano. ASCAP registration May 2007. “Fierce Girl Playing Hopscotch,” in Poets Out Loud, a joint project of the Poetry Foundation and the National Endowment for

the Arts, five-year license 2007-2012 for national rebroadcast in syndication. 100 Poets Against the War, an exhibition curated by Christian Narkiewicz-Laine, The Chicago Athenaeum, May 1–30, 2005.


“Our Calling, 2005.”The Etiquette of Ice by James Worlton, musical settings of “Anchors Of Light,” “The Ice Storm,” “Snow Kiln” commissioned by

the Barlow Endowment for Music Composition 2005. World premiere performance April 4, 2005, Denton, Texas.Three Poems from Felt by Joseph Klein, computer music for “Prequel,” “By Her Own Hand,” and “Call The Mainland.” World

premiere performance April 4, 2005, Denton, Texas.Daphne and Apollo Remade: A Musical Drama, Poetry by Alice Fulton, Music by Enid Sutherland (Porthole Publishing, Ann

Arbor) 2002. World premiere performance by the Phoenix Ensemble, Lydia Mendelssohn Theater, Ann Arbor, 2003.All About Doris an exhibition of scanograms by Darryl Curran. Northern Kentucky University Fine Arts Center, Highland

Heights, KY, 2002. “All About Doris” (poem).... turns and turns into the night a setting by Anthony Cornicello of four poems from Sensual Math, world premiere, the Peter

Lewis Theater, Guggenheim Museum, New York, 2001.The Atlantic, “Fix,” audio recording for their spoken-word archive. Mail: from Daphne and Apollo Remade, a setting by Enid Sutherland, world premiere performance, the Phoenix Ensemble,

Rackham Auditorium, Ann Arbor, 2000.Mail: from Daphne and Apollo Remade, a setting by Enid Sutherland, performed by the Phoenix Ensemble, University of

Michigan–Dearborn, Henry Ford Estate, 2000.Marilyn Horne, Martin Katz, Tokyo Quartet: William Bolcom’s I Will Breathe a Mountain: A Cycle from American Women Poets

(Bmg/RCA Victor–#68771, 1998) audio CD. (Includes my poem “How To Swing Those Obbligatos Around.”) World premier, Carnegie Hall Centennial Celebration, New York, 1991 (holograph).

Turbulence: A Romance, a song cycle commissioned by Song Celebration, Inc., for Marsha Hunter and Brian Kent set to music by William Bolcom. World premiere, Walker Art Center, Minneapolis, Minn., 1997. Bolcom/Marks music publishers, New York, 1997.

Poets in Person: American Poets and Their Art, National Public Radio interview series: “A. R. Ammons Interviewed by Alice Fulton,” “Gwendolyn Brooks Interviewed by Alice Fulton,” 1991.

TRANSLATIONS OF MY WORK BY OTHERS

Beyond the Pale, a collection of American short stories (Nashr-e Targoman, Tehran) 2013. Persian translation by Hedyeh Yazdanpanah of my story “A Shadow Table.”

Contemporary American Poems: A Chinese-American Bilingual Anthology, (People’s Literature Publishing House, Beijing, China) 2011, pp. 172-185. “About Face,” “A Little Heart To Heart With The Horizon,” “Unwanting,” Chinese/English trans. by Aaron Crippen.

A Russian-American Bilingual Anthology. (OGI Publishing House, Moscow, Russia) 2008. “Fierce Girl Playing Hopscotch,” Russian/English.

Sehen heißt andern: Dreißig amerikanische Dichterinnen des 20. Jahrhunderts. To See Is to Change:Thirty American poets of the 20th Century. A bilingual anthology, Jürgen Brocan, ed. In two languages English/German, Lyrik Kabinett, Munich, 2006.

Polja (The Fields) vol. 434. “Art Thou the Thing I Wanted,” Sasha Skenderija, trans., Bosnian/Croatian.Hi Magazine, Washington, January 2004. “About Face,” Arabic.drehpunkt: Die Schweizer Literaturzeitschrift no.107:36–37, August 2000, Basel, Switzerland. “Echo Location / Echo-Ortung,”

Hans Jürg Kupper, trans., German.Wen Hui Bao (June 6, 1989, p. 4, Beijing, Peoples Republic of China). “All Blankets Should Be White,” Feng Zong Pu, trans.,

Chinese.

WRITING AND TALKS ON MY WORK BY OTHERS

Jonathan Post, “Re-gifting Some Sonnets of Late,” in Hannah Crawforth, Elizabeth Scott-Baumann and Clare Whitehead, eds., Shakespeare’s Sonnets: The State of Play (Bloomsbury Arden, 2017).

Linda Gregerson, “Thinking Feeling,” Donne in Context, Cambridge University Press (forthcoming). Caitlin Hayes, “A Poet’s Story,” Cornell Research, Sept. 9, 2016, https://research.cornell.edu/news-features/poets-story.Amanda Bosworth, “Alice Fulton Reveals Poetic Inspiration,” Cornell Chronicle, May 2, 2016, http://www.news.cornell.edu/

stories/2016/05/alice-fulton-reveals-poetic-inspirationLoralee Songer, “Giving Women a Voice: Art Song Settings of Women Poets,” Coe College, Cedar Rapids Iowa, Oct. 13, 2016.Jessica Piazza, “The New Age of Vers Libre,” The Los Angeles Review 18:161-167, fall 2015.


Meg Schoerke, “Elegy in the Neo-Shadow: Forms and Variations,” The Hudson Review, 68.3 (Autumn 2015): 481-491,528.Stephen Yenser, “Barely Composed by Alice Fulton,” Yale Review 103:4:161-176, October 2015.Alex M. Frankel, untitled review, Antioch Review 73:3:579-580, summer 2015.Joseph Duemer, “Disrupted Diction(s),” Reading.Writing. September 17, 2015, http://www.sharpsand.net/2015/09/17/dis-

rupted-dictions/Aime Williams, “Loyal to the Quotidian: Alice Fulton, Claudia Rankine, Jane Hirshfield,” Poetry Review (UK) 105:2:105-114,

2015 Magdalena Edwards, “Alice Fulton’s Barely Composed,” Boston Review, May/June 2015, pp. 74-75.Publishers Weekly, untitled review of Barely Composed, May 4, 2015. http://publishersweekly.com/978-0-393-24488-5Patrick O’Reilly, “Theory and Ardour: A Review of Alice Fulton’s Barely Composed,” Numero Cinq, May 3, 2015. http://nu-

merocinqmagazine.com/2015/05/02/theory-and-ardour-a-review-of-alice-fultons-barely-composed-patrick-oreilly/Pauline Uchmanowicz, “Poetry Roundup 2015: Barely Composed,” Chronogram, May 2015. http://www.chronogram.com/hud-

sonvalley/poetry-roundup-2015/Content?oid=2305974Jonathan Post, “Re-gifting Some Sonnets of Late,” on Alice Fulton’s “Peroral” from Barely Composed, paper presented at the

43rd Annual Meeting of the Shakespeare Association of America, Vancouver, British Columbia, April 1-4, 2015.Ron Slate, “On Barely Composed, Poems by Alice Fulton,” On The Seawall, March 22, 2015. http://www.ronslate.com/barely_

composed_poems_alice_fulton_w_w_nortonCasey Patrick, “Barely Composed by Alice Fulton,” March 21, 2015. http://therumpus.net/2015/03/barely-composed-by-alice-

fulton/Amanda Ferris, “Explore Suffering in Alice Fulton’s Collection ‘Barely Composed,’” The Absolute, March 20, 2015. http://the-

absolutemag.com/23568/books/explore-suffering-in-alice-fultons-collection-barely-composed/#more-23568Cynthia Hogue, “A ‘Sub = = Versive’ Feminist Poethics: Marianne Moore, Alice Fulton, and the Post-War Poetics of Witness,”

talk delivered at 21st-Century Moore, University of Houston, Houston, Tex., March 19-21, 2015.Kristin George Bagdanov, “Book Review Barely Composed,” Colorado Review, March 19, 2015. http://coloradoreview.colostate.

edu/reviews/barely-composed/Lisa Russ Spaar, Los Angeles Review of Books, “Second Acts: A Second Look at Second Books of Poetry: Fulton and Bachmann,”

March 11, 2015. http://lareviewofbooks.org/review/second-acts-second-look-second-books-poetry-fulton-bachmann.Steven Critelli, Excerpt from “Reading Alice Fulton’s Barely Composed” — Essay on “Triptych for Topological Heart,” Against

Interpretation, March 5, 2015, https://rockcru.wordpress.com/2015/03/05/excerpt-from-reading-alice-fultons-barely-com-posed-essay-on-triptych-for-topological-heart/.

Daisy Fried, “The Shortlist: Alice Fulton’s ‘Barely Composed’ and More,” The New York Times Sunday Book Review, March 1, 2015, p. BR30.

Elizabeth Lund, “Best New Poetry for February,” The Washington Post, February 17, 2015.Michael Andor Brodeur, “‘Slant Six’ by Erin Belieu and ‘Barely Composed’ by Alice Fulton,” The Boston Globe, January 31,

2015. Maureen Thorson, “Grudge Sliver,” Open Letters Monthly, February 2015. http://www.openlettersmonthly.com/grudge-sliver/Alfred Bendixen, Stephen Burt, eds., The Cambridge History of American Poetry, Cambridge University Press, Cambridge, UK,

2014, pp. 932-933.Karla Huston, untitled review, Library Journal, Nov. 15, 2014, p. 91.Jacquelyn Ardam, “Releasing Daphne: Alice Fulton, Ovid, Trees,” Contemporary Women’s Writing 7:2:1-19, July 2013.Roland Greene et al., The Princeton Encyclopedia of Poetry and Poetics, 4th ed., Princeton University Press, Princeton, 2012.

“Late 20th- and Early 21st-century Poetry and Third Wave Feminism,” p. 483, “Fractal Verse,” p. 505, and “Science and Poetry,” p. 1271.

Seth Abramson, “January 2012 Contemporary Poetry Reviews, Felt by Alice Fulton,”The Huffington Post. http://www.huffing-tonpost.com/seth-abramson/contemporary-poetry_b_1168513.html

Lisa Russ Sparr, “Monday’s Poem: ‘After The Angelectomy’ by Alice Fulton,” commentary in The Chronicle of Higher Educa-tion, May 12, 2012; and in The Hide-and-Seek Muse: Annotations of Contemporary Poetry, Drunken Boat Media, 2013.

Rosemary M. Canfield Reisman, ed., “Alice Fulton,” in Critical Survey of Poetry: Feminist Poets, An in-depth selection of articles from Critical Survey of Poetry, 4th ed. Salem Press, Ipswich, Mass. 2011.

Elline Lipkin, “The Active Blank: The White Space Speaks,” in Blas Falconer, Beth Martinelli, and Helena Mesa, eds., Mentor and Muse: Essays from Poets to Poets, Southern Illinois University, Carbondale, 2010, pp. 214-223.

Alice Mattison, “Fiction in Review” review of The Nightingales of Troy, Yale Review, July 2009, 97:3:146-155.


Greg Schutz, review of The Nightingales of Troy, Fiction Writers Review (fictionwritersreview.com), May 10, 2009.Lynn Keller, “The then some in between: Alice Fulton’s feminist experimentalism” in Thinking Poetry: Readings in Contemporary

Women’s Exploratory Poetics, University of Iowa Press: Iowa City, 2009.Tracy V. Wilson, review of The Nightingales of Troy, Winston-Salem Journal, Oct. 5, 2008.Anna Martí-Subirana, “Chaos and Emergence: Dialogic Models of Intellectual Exchange in Alice Fulton’s Poetics,” paper pre-

sented at “Women’s Poetry Since 1900,” conference at Duquense University, Pittsburgh, Sept. 11-13, 2008Sarah Fay, “Choosing Their Disappointments,” New York Times Book Review, Sept. 2, 2008.Rose Gorman, “Sharp Female Characters Enliven 20th Century Context in Fulton’s Nightingales of Troy,” Ithaca Journal, Aug.

16, 2008.Karen Rigby, review of The Nightingales of Troy, bookbrowse.com, August 13, 2008.Richard Wallace, review of The Nightingales of Troy, Seattle Times, August 3, 2008.Barbara Fisher, review of The Nightingales of Troy, The Boston Globe, July 20, 2008 (A Boston Globe New and Recommended

book).Daniel A. Hoyt, “The Nightingales of Troy Follows Four Generations of Women through the 20th Century,” The Cleveland

Plain Dealer, July 20, 2008.Susan Salter Reynolds, “DISCOVERIES: The Nightingales of Troy,” Los Angeles Times Book Review, July 6, 2008.Thea Brown, review of The Nightingales of Troy, The L Magazine, July 1, 2008.Donna Seamon, starred review of The Nightingales of Troy, Booklist, July 1, 2008.The Nightingales of Troy (starred review), Kirkus Reviews, June 1, 2008.Donna Bettencourt, The Nightingales of Troy, Library Journal, May 1, 2008.The Nightingales of Troy, Publishers Weekly, March 24, 2008.Christopher McDermott, “Review of Cascade Experiment,” Verse 23:1–3, 2007. http://www.poems.com/essamcdermott.htmEdward Butscher, “Stories True and Not: Six Anthologies of Our ‘Best’ Writing,” Georgia Review, fall-winter 2006, pp.

803–823. Discussion of “The Real Eleanor Rigby,” p. 814.Jennifer L Bauman, “Out of the Lab, into the World: Alice Fulton’s Cascade Experiment,” PN Review, Manchester, UK, Sept.-

Oct. 2006, 33:1:64–67. Patience Agbabi, “Close-up: The Sestina (‘You Can’t Rhumboogie in a Ball and Chain’),” Poetry News, London, UK, summer

2006, p. 3.Beth Lizardo, “Alice Fulton’s Cascade Experiment,” Kliatt, Wellseley, Mass., March 2006.Burt Kimmelman ed., “Alice Fulton,” in The Facts on File Companion to 20th-Century American Poetry, Facts on File, New

York, 2005, pp. 176-177.Ernest Smith, “Alice Fulton,” in Jeffrey Gray, James McCorkle, and Mary McAleer Balkun, eds., The Greenwood Encyclopedia of

American Poets and Poetry, Greenwood Press, Westport, Conn., 2005, pp. 574–575.Sarah Annes Brown, Ovid: Myth and Metamorphosis, Bristol Classical Press, London, 2005, pp. 45–47, 56, 62–63.Julia Bninski, review of Cascade Experiment: Selected Poems, Virginia Quarterly Review, 81:1:295–296, winter 2005.Daniel Nester, “Boundlessness Limited by Skin: Americana and Artifice in Alice Fulton’s ‘Unwanting,’” in Marcia Noe ed.,

Midwestern Miscellany XXXII Midwestern Press, East Lansing, Mich., 2004, pp. 63–78.Kathleen Rooney, review of Cascade Experiment: Selected Poems, Harvard Review, 27, winter 2004.Sarah Vap, review of Cascade Experiment: Selected Poems, Rain Taxi, 9:3:23, fall 2004.Jordon Davis, review of Cascade Experiment: Selected Poems, Constant Critic (Fence online http://www.constantcritic.com/ar-

chive.cgi?rev=Jordan_Davis&name=Cascade)Michael Scharf, review of Cascade Experiment: Selected Poems, Publishers Weekly, April 26, 2004, pp. 56–57.Sarah Maclay, review of Felt, Poetry International 7/8, 2003, pp. 447–448.Marion K. Stocking, “Poets on Poetry,” [Feeling as a Foreign Language] Beloit Poetry Journal, 54:1:36–48, fall 2003.Tracy Chevalier, ed., Contemporary Poets, 6th ed. (St. James Press, Detroit and London, forthcoming).Stephen Yenser, “Bright Sources,” in A Boundless Field: American Poetry at Large, University of Michigan Press, 2002, pp.

84–118.Carol Muske-Dukes, “Poets’ Corner,” The Los Angeles Times Book Review, September 30, 2001, p. 10 (Chosen by The Los Ange-

les Times as one of the Best Books of 2001).Megan Harlan, “The Past Tense of Feel,” The New York Times Book Review, April 15, 2001, p. 22.Larissa Szporluk, “The Linguistic Blizzard Beating Still,” [Felt] Agni Review, 55:252–256, 2002.Martha Collins, “Felt,” Harvard Review, 22:190–192, spring 2002.


Peter Brier, “Felt,” Magill’s Literary Annual, June 2002, pp. 295–299.Ernest J. Smith, “Alice Fulton,” in Catherine Cucinella, ed., Contemporary American Women Poets: An A-to-Z Guide, Green-

wood Press, Westport, Conn., 2002, pp. 127-132.Cynthia Hogue, “Another Postmodernism: Toward an Ethical Poetics, HOW2 1:7,spring 2002 (http://www.scc.rutgers.edu/

however/v1_7_200/current/in_conference/msa/hogue.shtm)Jane Satterfield, “Felt,” Antioch Review, spring 2002, pp. 348–349.Rachel Elliot, “Feeling and Meaning,” PN Review (UK), 29:2:60-61, Nov.-Dec. 2002.Doris Earnshaw, “Felt,” World Literature Today, 76:1:163, winter 2002.Elizabeth Jones Hanley, “The News from Poetry: Rhymes and Echos” [Powers Of Congress], Mid-America Review, spring 2002,

pp. i–iii.Veronica Mitchell, “The Beginning of the Middle,” American Book Review, 2:1:22,24, November/December 2001.Don Riggs, “On Poetry: Alice Fulton and Her Book of Changes,” [Sensual Math] Drexel Online Journal, 2001 (http://www.

drexel.edu/doj/archives/2001/poetry/onpoetry5.html)Sandra Cookson, “Feeling as a Foreign Language,” in Beverly McFarland, ed., Cracking the Earth: A 25th Anniversary Anthology

from Calyx, Calyx Books, Corvallis, Or., 2001, pp. 124-126.Barbara Fischer, “Felt,” Boston Review, 26:5:54–56, October/November 2001.Marta Boswell, “Felt,” Missouri Review, 24:2:206 2001.Kate Moos, “Forms of Invention,” Ruminator Review, fall 2001, p. 49.Jeff Zaleski, “Felt,” Publishers Weekly, 247:47:64, November 20, 2000.Keith Hendrixs, “Felt” Arts & Letters, 6:179–188, fall 2001.Anne Martino, “Local Poet’s Work Draws Comparisons to Emily Dickinson,” Ann Arbor News, March 5, 2001, p. B1.Rita Dove, “Poet’s Corner: Alice Fulton,” Washington Post Book World, August 5, 2000, p. 12.“Feeling as a Foreign Language,” The Missouri Review, 23:1:182, 2000.Doris Earnshaw, “Feeling as a Foreign Language,” World Literature Today, 74:1:167–168, winter 2000.Rita Signorelli-Pappas, “Eccentric Circling,” The Women’s Review of Books, XVI:12:6–8, September 1999.Steven Moore, “Feeling as a Foreign Language,” Rain Taxi, 4:3:43 fall 1999.Carrie O. Ferguson, “Feeling as a Foreign Language,” The Georgia Review, pp. 395-396, summer 1999.David Baker, “Powers of Congress,”Heresy and the Ideal: On Contemporary Poetry, University of Arkansas Press, Fayetteville,

2000.Susan Duhig, “Good and Productive Strangeness, from Physics to Poetry,”Chicago Tribune, July 4, 1999, sec. 14, pp. 1–2.Steven Lont, “Lucid Verse,”Grand Rapids Independent, June 10–16, 1999.Lynn Keller, “The ‘then some inbetween’: Alice Fulton’s Feminist Experimentalism.” American Literature, 71:2:311–340, June

1999.Jennifer Sperry, “Feeling as a Foreign Language,” Foreword Magazine, May 1999.Sergei Lobanov–Rostovsky, “Alice Fulton,” Dictionary of Literary Biography 193: American Poets Since World War II, Sixth Series,

Joseph Conte, series ed. Bruccoli Clark Layman, Columbia, SC, 1998, pp. 138–147.

Barry Mazur, “Sensual Math,” Harvard Review 12:170–172, spring 1997.Deborah Landau, “’Not a Woman, Quite’: The Body Poems of Anne Sexton and Alice Fulton,” in Giovanna Covi, ed., Critical

Studies on the Feminist Subject; Dipartimento di Scienze Filologiche e Storiche, Universita degli Studi di Trento, Trento, Italy, 1997, pp. 209–227.

Lynn Keller, “Alice Fulton,” talk delivered at Poetry and the Public Sphere: A Conference on Contemporary Poetry, Rutgers University, New Brunswick, N.J., April 24–27, 1997.

Pamela Shelton, ed. Contemporary Women Poets, St. James Press, Detroit and London (1997).Marion K. Stocking “Books in Brief ” [Sensual Math], Beloit Poetry Journal 47:4:48, summer 1997.Cristanne Miller, “Wonder Stings Me More than the Bee,” Emily Dickinson International Society Bulletin 8:2:10–11, 1996.Sergei Lobanov–Rostovsky, “The Natural Is What Poetry Contests,” Kenyon Review 18:3:214–221 summer/fall 1996.Lynn Keller, “The ‘then some inbetween’: Alice Fulton’s Interstitial Alternative,” paper presented at the Assembling Alterna-

tives: An International Poetry Conference/Festival, The New England Center, University of New Hampshire. (Aug. 29–Sept. 2 1996).

Edward Falco, “Making the Abstract Physical: On Fulton’s Sensual Math,” The Blue Penny Quarterly, Summer 1996 (ebbs.english.vt.edu/olp/bpq/8/reviews/math.html).

Dorothy Barresi, “The World as We Know It,” The Gettysburg Review 9:1:55–72, winter 1996.


Alan Michael Parker and Mark Willhardt, “Blizzard into Text: Contemporary Cross–Gendered Verse,” TriQuarterly 95:127–145, winter 1995/96.

Kathrine Lore Varnes, “Extricating Misogyny from Heterosexuality with Alice Fulton’s Poetry,” paper presented at the North-east Modern Language Association Conference, Montreal, April 1996.

Emily Grosholz, “Distortion, Explosion, Embrace: The Poetry of Alice Fulton,” Michigan Quarterly Review 34:2:213–229 spring 1995.

Cristanne Miller, “Questioning Authority in the Late Twentieth Century,” in Marianne Moore: Questions of Authority (Harvard University Press, Cambridge, 1995). pp. 204–231, 290–296.

Larissa Szporluk, “The White Between the Ink,” Boston Book Review 2:7:37,43 Aug. 1995 (also online).Amy Gerstler, “Shake, Rattle and Roll: Jagged Poems that Are Wise and Hip,” Los Angeles Times Book Review, July 23, 1995, p.

15.Stephen Yenser, “Poetry in Review,” Yale Review 83:2:147–167, April 1995.“Recommended Reading: Sensual Math,” The New Yorker, Oct. 23, 1995, p. 95.Richard Silberg, “New & Noted,” Poetry Flash, July/Aug. 1995, p. 32.Diane Wakoski, “Lost and Found,” Women’s Review of Books, July 1995, pp. 27–28.Publishers Weekly, Feb. 27, 1995, p. 97.Library Journal, April 1, 1995, p. 00.Cristanne Miller, “‘The Erogenous Cusp’ or Intersections of Science and Gender in Alice Fulton’s Poetry,” in Lynn Keller and

Cristanne Miller, eds., Feminist Measures: Soundings in Poetry and Theory, University of Michigan Press, Ann Arbor, 1994), pp. 317–343.

Ian Hamilton, ed., The Oxford Companion to Twentieth-Century Poetry, (Oxford University Press, Oxford, 1994), p. 178.Ben Downing, “After Ovid: New Metamorphoses,” Voice Literary Supplement, March 1993.Eavan Boland, “In Perspective,” Partisan Review 60:2:316–321, winter 1992.Stephen C. Behrendt, untitled review, Prairie Schooner 67:1:157–164, spring 1993.Edward Falco, “The Powerhouse of Language,” Iowa Review 22:2:190–192, spring/summer 1992.Rodney Pybus, “Poetry Chronicle II,” Stand (Newcastle upon Tyne, England) 33:2:107–113, spring 1992.Kevin Walker, untitled review, Michigan Alumnus, Sept./Oct. 1992, p. 7.Lawrence Joseph, untitled review, Verse (England) 8:3 & 9:1:136–139, winter/spring 1992.Charles Wasserburg, “Angels, Atheists, and Evangelists,” The Southern Review 28:2:371–389, April 1992.David Barber, “Booklearned and Streetwise,” Hungry Mind Review no. 20, winter 1991–1992, p. 49.Neile Graham, “Powers of Congress,” Calyx 13:3:94–95, 1991–92.Sandra Witt, “Reading Like a River,” Iowa Woman 11:3:45–47, autumn 1991.Frank Allen, “Quartet: Four New Collections,” Poet Lore 86:2:70–75, summer 1991.Fred Marchant, “Powers of Congress,” Harvard Book Review July–Aug. 1991, p. 20.David Baker, “Culture, Inclusion, Craft,” Poetry 158:3:158–175, June 1991.Diane Wakoski, “Words of Power,” Women’s Review of Books 8:9:24–25, June 1991.Tracy Chevalier, ed., Contemporary Poets, 5th ed. (St. James Press, Chicago and London, 1991), pp. 318–320.Joyce Walter, “Ambushed by Typescript,” Poetry Review (London, England), April 1991, pp. 56–57.Joyce Peseroff, “Ploughshares Bookshelf,” Ploughshares 17:1:230, spring 1991.“Literature: English,” 1991 Britannica Book of the Year (Encyclopaedia Britannica, Chicago, 1991, p. 245.Poetry Pilot (Academy of American Poets), Dec. 1990, p. 11.Edward Morin, “1990’s Best Books,” The Detroit News, Dec. 6, 1990, p. 3Q.Willard Spiegelman: “A Mix of Contemporary U.S. Poems,” Philadelphia Inquirer, Oct. 22, 1989.Cristanne Miller: “From ‘Possibility’ to Palladium: Emily Dickinson and Alice Fulton,” paper presented at a special session

entitled “Dowering ‘All the World’: Emily Dickinson and Contemporary American Women Poets” at the 1989 Annual Convention of the Modern Language Association of America, Washington, D.C., Dec. 26–30, 1989. PMLA 104:6:1087 (Nov. 1989), program no. 456.

Sven Birkerts, “Alice Fulton,” The Electric Life: Essays on Modern Poetry, Morrow, New York, 1989, pp. 309–312.Daniel G. Marowski and Roger Matuz, eds., Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today’s Nov-

elists, Poets, Playwrights, Short Story Writers, Scriptwriters, and Other Creative Writers (Gale Research, Detroit, 1989), vol. 52, pp. 157–162.

Marianne Boruch, “An Otherness Seeps In,” American Poetry Review 17:1:17–18, Jan.–Feb. 1988.


Calvin Bedient, “The Wild Braid of Creation,” Sewanee Review 96:1:137–149, Jan./March 1988.Cristanne Miller, “Dowering ‘all the World’: Emily Dickinson’s ‘Dealings’ to Marianne Moore and Alice Fulton,” paper pre-

sented at the Dickinson Society Annual Meeting, Washington, D.C. (Nov. 1988).Louis Simpson, “Facts and Poetry,” Gettysburg Review 1:1:156–165, winter 1988.Stephen Yenser, “Bright Sources,” Yale Review 77:1:115–147, autumn 1987.Mark Jarman, “A Scale of Engagement, from Self to Form Itself,” Hudson Review 40:2:343–351, summer 1987.Matthew Gilbert, “A Poet Who Ventures Where Others Are Reluctant to Tread,” Sunday Boston Herald, March 8, 1987, pp.

S-17, S-18.“Notes on Current Books,” The Virginia Quarterly Review 63:1:25, winter 1987.Peter Stitt, “To Enlighten, to Embody,” Georgia Review 61:4:800–813, winter 1987.David Lehman, untitled review, Epoch 36:3:269–270, 1986–87 Series.Sven Birkerts, untitled review, Boston Review, Dec. 1986, p. 29.Booklist, Oct. 15, 1986, p. 321.Choice, Dec. 1986, p. 623.Tom Pynn, “Strength and Vibrancy in Fulton’s Palladium,” Signal, Dec. 1986, pp. 4, 10.Edward Morin, untitled review, The Detroit News, Nov. 30, 1986, p. 3-B.J.D. McClatchy, “Mortal Listeners,” Poetry 149:1:31–47, Oct. 1986.Charles Wasserburg, “Reprieve from Plainness,” Borders Review of Books, Sept. 1986, pp. 1–3.Publishers Weekly, July 4, 1986, p. 65.Stephen C. Behrendt, untitled review, Prairie Schooner 60:2:115–123, summer 1985.Contemporary Authors, “Alice Fulton” (Gale Research, Detroit), 1985, vol. 116, pp. 158–159.Mark Jarman, “Acts of Will,” The Missouri Review 3:3:83–85, spring 1985.Laurel Speer, untitled review, Gargoyle Magazine, winter 1985.William Logan, untitled review, Poetry 145:2:99–113, Nov. 1984.David St. John, “Raised Voices in the Choir: A Review of 1983 Poetry Selections,” The Antioch Review 42:3:363–364, 1984.Choice, June 1984, p. 1465.Michael Hofmann, “American Pie,” PN Review (Manchester, England) 11:4:39–44, 1984.Matthew Gilbert, Boston Review, Feb. 1984, p. 31Holly Prado, “In Verse,” Los Angeles Times, Jan. 8, 1984.David Lehman, “Six Who Raise Their Varied Voices in Poetry,” Philadelphia Inquirer, Dec. 25, 1983, p. L-9.David Lehman, “The Exceptional Poets of 1983,” Newsday, Dec. 18, 1983, pp. 17–18.Library Journal, Dec. 15, 1983, p. 2335.Publishers Weekly, Oct. 21, 1983, p. 55.

SERVICE TO THE PROFESSION

2016 Judge, The Poets Out Loud book publication prize, Fordham University Press 2016 Judge, The 2016 Janet McCabe Poetry Prize, Ruminate Magazine 2015 Outside evaluator of candidate for promotion to associate professor with tenure at Rutgers University 2013 Outside evaluator of candidate for promotion to full professor with tenure at Hunter College, CCNY 2007 Judge, The Poets Out Loud book publication prize, Fordham University Press 2006 Judge, The Stanley H. Bloch Poetry Awards, Carleton College 2005 Judge, the Mid-American Review Fineline Competition for Prose Poems, Short Shorts, and Anything In-Between 2005 Outside evaluator of full professor with tenure considered for promotion to special recognition status at UCLA 2004 Judge, The Avery Hopwood Awards in Poetry, University of Michigan 2003 Judge, The Wallace Stevens Award, Academy of American Poets 2002 Judge, Emily Dickinson Award, Poetry Society of America 1999 Judge, The MacGuffin Prize in Poetry 1998–present Consulting Editor, Mid-American Review 1995–present Advisory Editor, Kenyon Review 1998 Judge, The Loft Awards of Distinction, the McKnight Artist Fellowship for Writers 1997 Judge, Walt Whitman Award, Academy of American Poets 1997 Judge, The University of Akron Press Poetry Prize


1996 Judge, The Sarabande Books Poetry Prize for 1996 1995 Judge, The Lenore Marshall / The Nation Poetry Prize for 1995 1995 First Reader, The Writers Community Anthology, Laurel Blossom, ed. 1994 Judge, The Ruth Lilly Poetry Prize 1994 Judge, The Kenyon Review Poetry Prize 1993 Judge, The National Book Award in Poetry 1993 Judge, Baxter Hathaway Prize in Poetry, Epoch–Cornell University 1993 Judge, Cecil Hemley Memorial Award, Poetry Society of America

SHORT RESIDENCIES

May 2010 The George Elliston Poet in Residence for 2010, University of Cincinnati April 2006 The Michael M. Rea Visiting Writer in Poetry for 2005/06, University of Virginia, Charlottesville Oct. 1997 Visiting Writer-in-Residence, University of North Carolina, Wilmington May 1995 Visiting Professor, Ohio State University, Columbus

SELECTED READINGS, LECTURES, CONFERENCES

2017: The Richard Cleaveland Memorial Reading, Cornell; Downtown Writers Center, Syracuse. 2016: The 53rd Annual Theodore Roethke Memorial Poetry Reading at the University of Washington in Seattle. The Poetry Foundation in Chicago, cosponsored by the MacArthur Foundation in their series “Celebrating 35 Years of

MacArthur Fellows.” 2015: Inaugural Poet, President Elizabeth Garrett Installation Ceremonies, Cornell. “The Poetics of Complexity,” a lecture/reading at the van Rooy Center for Complexity and Conflict

Analysis,University of Hartford, W. Hartford, Conn., for the Humanities Center’s spring lecture series, “Exploring Complexity.”

Readings at Stony Brook University, Southampton, N.Y.; Blacksmith House, Cambridge, Mass.; Merrimack College, North Andover, Mass.; Buffalo Street Books, Ithaca, N.Y.

2013: The American Academy in Rome, Italy, “Ovid Transformed: the Poet and the Metamorphoses,” poetry reading and panel discussion with Seamus Heaney, Alessandro Schiesaro, and Timberlake Wertenbaker, moderated by Jane Alison; The Hammer Museum, poetry reading, Los Angeles; Jackson McNally Books, New York.

2012: Muhlenberg College, Allentown, Pa., symposium and poetry reading; Hollins University, Jackson Poetry Reading/Residency, Roanoke, Va.

2011: Emily Dickinson Museum, Amherst; Hunter College Distinguished Writers Series, New York.2010: University of Cincinnati, George Elliston Reading.2009: University of Utah Symposium in Science and Literature, keynote talk and poetry reading, Salt Lake City; Colgate

University Writers Conference poetry reading.2008: Rothko Chapel/University of Houston; Russell Sage College Carol Ann Donahue Poet; Armand Hammer Museum,

Los Angeles, California; Fordham University Poets Out Loud Awards Ceremony, New York City; University of North Dakota Writers Conference: Revolutions in Writing, Grand Forks; 45th Annual Wallace Stevens Poetry Program, Uni-versity of Connecticut, Hartford & Storrs.

2007: Virginia Polytechnic and State University, Blacksburg; Kansas State University, Pittsburg; Ashland University Writers Conference, Ashland, Ohio; Benedictine University, Atchison, Kansas; Reading Between A&B, New York.

2006: Hopwood Awards Reading, University of Michigan, Ann Arbor; Sense & Sentiment Symposium, Pomona College, Claremont; University of Virginia, Charlottesville; The Stanley H. Bloch Awards Reading, Carleton College, Minne-sota; Inauguration of Drew University President Robert Weisbuch; University of Arizona, Tempe.

2005: Richard Elman Visiting Writer/Raymond Carver reading, Syracuse University; Empire State College , Albany; Univer-sity of North Texas, Center for Experimental Music & Intermedia Concert Series, Denton; Carnegie Mellon Univer-sity Adamson Awards Ceremony, Pittsburgh; Library of Congress National Book Festival, Washington, DC; Housing Works Book Store, New York; Syracuse YMCA; University of Illinois, Urbana-Champaign; Oregon State University, Corvallis.

2004: Roberta Holloway Reading, University of California, Berkeley; Mechanics Institute Library, San Francisco.

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