Publications

 Books: 

History, Memory, and the Literary Left: Modern American Poetry, 1935-1968.Contemporary North American Poetry Series. Iowa City: University of Iowa Press, 2006.

 The American Avant-Garde Tradition: William Carlos Williams, Postmodern Poetry, and the Politics of Cultural Memory. Lewisburg, PA: Bucknell University Press, 1997.
 Articles: 

“Jazz, Black Transnationalism, and the Political Aesthetics of Langston Hughes’s Ask Your Mama.” American Literature 84.3 (Sept. 2012): 563-87.

  “Langston Hughes, Modernism, and Modernity.”  Langston Hughes: Critical Insights. Ed. R. Baxter Miller. Pasadena, CA: Salem, 2012. 275-93.
 

“Langston Hughes’s Cold War Audiences: Black Internationalism, The Popular Front, and ThePoetry of the Negro, 1746-1949.” The Langston Hughes Review 23 (Fall 2009): 50-71.
 “‘Why Not Say What Happens?’ Modernism, Traumatic Memory, and Lawrence Joseph’s Into It.” University of Cincinnati Law Review Law and Literature Symposium: “‘Some Sort of Chronicler I Am’: Narration and the Poetry of Lawrence Joseph.” University of Cincinnati Law Review 77.3 (Spring 2009): 843-61.

“‘The Air of Atrocity’: ‘Of Being Numerous’ and the Vietnam War.” Thinking Poetics: Essays on George Oppen. Ed. Steven Shoemaker. Modern and Contemporary Poetics Series. Tuscaloosa: University of Alabama Press, 2009. 143-59.

   “William Carlos Williams and Modern Poetry: From Modernism to Modernisms.” The William Carlos Williams Review 25.2 (Spring 2005): 39-54.
 
“Reading the Borders of ‘The Desert Music.’” The William Carlos Williams Review 24.2(Fall 2004): 61-77.

“Haiti and Black Transnationalism: Remapping the Migrant Geography of Home to Harlem.” African American Review 34.3 (Fall 2000): 413-29.

 “Langston Hughes and the ‘Nonsense’ of Bebop.” Unsettling Blackness. Ed. Houston A. Baker, Jr. Spec. issue of American Literature 72.2 (June 2000): 357-85.

 “‘Littered with Old Correspondences’: Elizabeth Bishop, Wallace Stevens, and the 1930s.” Arizona Quarterly 55.2 (Summer 1999): 87-114.

“‘Truths of Outrage, Truths of Possibility’: Muriel Rukeyser’s ‘The Book of the Dead.’” “How Shall We Teach Each Other of the Poet?”: The Life and Writing ofMuriel Rukeyser. Ed. Anne F. Herzog and Janet E. Kaufman. New York: St. Martin’s, 1999. 195-208.
 
“Poetry, Property, and Propriety: Lorine Niedecker and the Legacy of the Great Depression.” Sagetrieb 18.1 (Spring 1999): 29-40.
“‘A material collapse that is Construction’: Gwendolyn Brooks’s In the Mecca and the Poetics of Counter-Memory.” MELUS 23.3 (Fall 1998): 3-20.

“‘Homesick for those memories’: The Gendering of Historical Memory in Women’s Narratives of the Vietnam War.” Burning Down the House: Recycling Domesticity. Ed. Rosemary Marangoly George. Boulder, Colo.: Westview/HarperCollins, 1998. 257-78.

“The ‘Post-anti-esthetic’ Poetics of Frank O'Hara.” Contemporary Literature 32 (Summer 1991): 244-64.

“Thoreau’s Cape Cod: The Unsettling Art of the Wrecker.” American Literature 64 (June 1992): 239-54.

 “‘A Plot of Ground’: The Problem of Cultural Identity in the Emergence of Williams’ Avant-Garde Stance.” Sagetrieb 9.3 (Winter 1990): 97-119.

with Audrey R. Duckert, “From the Linguistic Atlas Archives: The Hanley Disks.” Journal of English Linguistics 19 (October 1986): 206-21.

Reviews: 

Untitled review essay on The African American Roots of Modernism: From Reconstruction to the Harlem Renaissance, by James Smethurst. African American Review 45.1-2 (Spring/Summer 2012): 258-61.

Untitled review essay on Hog Butchers, Beggars, and Busboys: Poverty, Labor, and the Making of Modern American Poetry, by John Marsh. Journal of American Studies 46.3 (Aug. 2012): 775-76.

Untitled review essay on Remarkable Modernisms: Contemporary American Authors on Modern Art, by Daniel Morris. Studies in the Novel 36.1 (Spring 2004): 137-40.

Untitled review essay on Complete Poems, by Claude McKay. Ed. William J. Maxwell. St. John’s University Humanities Review 2.2 (Spring 2004): 56-61.

Untitled review essay on Caribbean Waves: Relocating Claude McKay and Paule Marshall, by Heather Hathaway. Modern Fiction Studies 46.4 (Winter 2000): 1028-30.

Untitled review essay on American Literature and the Destruction of Knowledge,by Ronald E. Martin. American Studies International 31 (April 1993): 149-51.

Reprints: 

“‘Why Not Say What Happens?’ Modernism, Traumatic Memory, and Lawrence Joseph’s Into It.” Lawrence Joseph: Poet with a Steady Job. Ed. Eric Selinger. Spec. issue of Jacket II, 9 Feb. 2012. Web.

“‘A material collapse that is Construction’: Gwendolyn Brooks’s In the Mecca and the Poetics of Counter-Memory.” Gwendolyn Brooks: Critical Insights. Ed. Mildred M. Merkle. Pasadena, CA: Salem, 2010. 186-209.

The American Avant-Garde Tradition: William Carlos Williams, Postmodern Poetry, and the Politics of Cultural Memory. Excerpted in Bloom’s Major Poets: William Carlos Williams. Ed. Harold Bloom. New York: Chelsea House, 2002. 35-38, 97-103.  

“The ‘Post-anti-esthetic’ Poetics of Frank O'Hara.”Excerpted in Modern American Literature, vol. 2. 5^th ed. Ed. Joann Cerrito and Laurie DiMauro. Detroit: St. James, 1999.

“The ‘Post-anti-esthetic’ Poetics of Frank O'Hara.”Excerpted in Contemporary Literary Criticism, 78. Ed. James P. Draper. Detroit: Gale, 1994. 372-76.