A background in literature (modern and contemporary poetics) no doubt informs my photography, but my first serious forays into photography were much influenced by Ernst Haas's colour work, using long shutter speeds to blur motion and create a more abstract image. I was struck by both the visual energy, the emotional charge, and the mystery of such work. Digital cameras now allow me to investigate ‘alternative’ techniques more thoroughly: I can explore intentional camera movement, in-camera multiple exposures, colour shifts and so on in the field, and with an immediate view of the preliminary results. Since the results are always unpredictable, a good deal of chance is involved in this approach.

My work generally begins with an initial ‘displacement’ of the image, achieved through one or a combination of such methods. The subsequent development of the image becomes a process of teasing out the implications, the possibilities, of that displacement, of trying, in a sense, to restore it to a new place of its own. And that work inevitably evokes further memories and associations that become incorporated into the process. It’s not a representation of either the object or of an intial emotional response, but an emodiment of the whole, interactive process of perception and response.


Line of Flight. Toronto: Shuffaloff Press, 1998. 

Apocalypse and After: Modern Strategy and Postmodern Tactics in Pound, Williams, and Zukofsky. Tuscaloosa and London: University of Alabama Press, 1995.

“The Names,” in The Catacombs, catalogue for an exhibition by Thomas Lyon Mills, Bob Rauschenberg Gallery, Fort Myers, Florida, 2009.

“The Silence of the Mime,” in First Intensity (Winter 1998), 35-47. "The Green Man," in Boulevard nos. 25 and 26 (Spring 1994), 1-14.

"The Museum: By Night," in Boulevard nos. 23 and 24 (Fall 1993), 115-16.

"A Figure of Moment," in To 1.2 (Spring 1993), 18-23.

"From A to An: The Postmodern Twist in Louis Zukofsky." Reprint. Poetry Criticism. New York: Gale Research, 1995: 381-392.

"Robert Creeley: In Conversation,” in The Review of Contemporary Fiction 15.3 (Fall 1995), 82-94.

"Narrative Nets and Lyric Flights in Joyce's Portrait," in James Joyce Quarterly 29.2 (Winter 1992), 297-314.

"From A to An: The Postmodern Twist in Louis Zukofsky," in Sagetrieb 10.3 (Winter 1991), 37-62.

"Stages of Love, Steps to Hell: Dante's Rime Petrose," in MLN 101 (January 1986), 157-188.

"Soundings: The 'An' Song Beginning Zukofsky's 'A'‑22," in Sagetrieb 5 (Spring 1986), 95-106.

"Bob Brown," in Dictionary of Literary Biography, vol. 45: American Poets, 1880-1945, ed. Peter Quartermain (New York: Garland, 1986), 66-73.

"Williams, Botticelli, and the Renaissance," in William Carlos Williams: Man and Poet, ed. Carroll F. Terrell (Orono, Maine: National Poetry Foundation, 1983), 417‑33.

Exhibitions (poetry and art)

“Between and Around: Words,” Temple University Rome Art Gallery, September 2009.

“Al di la’ delle parole,” Studio Tiepolo 38, Rome, January - March 2009.

“Psyche Says,” Kommunale Galerie Schlangenbad, Schlangenbad, Germany, September - October 2007.

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