Stephen Paul Miller, Professor of English, joined the faculty in 1991. He has also taught in the English departments of Columbia University, NYU, and Jagiellonian University in Krakow, Poland as a senior Fulbright Scholar. Tel Aviv University has nominated him for a second senior Fulbright fellowship to teach in Tel Aviv University’s English Department, and the Council for the International Exchange of Scholars in Washington has approved this nomination.
Dr. Miller has made substantial contributions in various facets of cultural and literary studies and poetry. “Stephen Paul Miller is an established American critic,” says Timothy Gray In Contemporary Literature. Critics note synergy between his criticism and poetry. “Miller’s work,” comments David Shapiro “is an amazing synthesis of experimental and narrative modes. An astonishing creative and critical force, he’s the most radical poet-critic I know.”
Miller’s first critical book, The Seventies Now: Culture as Surveillance, published by Duke University Press in 1999, begins an academic reassessment of the seventies. Miller provides critical apparatus capable of an in-depth account of the decade. “Miller shows why and how we need to think comprehensively about the seventies—now,” W. J. T. Mitchell says. “Interdisciplinary wit and a bold intelligence bring together poetry, politics, and a popular culture in a broad survey that is provocative, engaging, and timely for our posthistorical age.” Miller relates a plethora of phenomena diverse as John Ashbery’s “Self-Portrait in a Convex Mirror,” the Watergate affair, Star Wars, and Phil Glass’s music. “Most remarkable of all,” according to Ian Smith in Scope, “is Miller's analysis of the famous missing eighteen minutes of tape.” “Miller closes a mysterious missing gap in American cultural history,” says Jeremiah Creedon in Utne Reader. Andrew Ross in American Literature observes, “Miller’s lesson is about an interpretive methodology teaching us to listen to things we had not heard before.”
Miller’s influence crosses many interdisciplinary boundaries. Observing how useful Miller’s innovative literary methodologies are for noting small historical shifts in what Miller terms “micro-periods” and “rippling epistemes,” Kenneth Gloag in Rethinking History calls Seventies Now, “A remarkable cultural history of the 1970s.” Many see new possibilities for historical study in Miller’s work. David Bowman reports in the San Francisco Chronicle that “Miller makes cultural comparisons that are equal parts genius and madness. Maybe a perspective on the 1970s will help our current condition make sense, maybe not. Either way, Stephen Paul Miller's book is a valuable and erudite hoot.” Howard Brick in Journal of American Historypoints out, “Miller shows how a few artifacts, at a unique moment, mark a break in conventional means of apprehending reality.” “Looking beyond surface tendencies, Miller's thesis is that during the 1970s 'institutionalized external surveillance' familiar from the cold war era of the immediately previous decades became a more internalized phenomenon. From the women's movement to the environment, Americans became accustomed to 'surveying themselves,’” observes Jerome Klinkowitz of American Literary Scholarship. Timothy Gray inPostmodern Culture maintains "One would be hard pressed to find a more detailed or nuanced appraisal of the uneasiness and paranoia that reigned during the 'undecade.'” “Miller draws suggestive and lively comparisons between disparate cultural documents. It is a fascinating and scholarly study which sheds much new light on a complex decade," maintains David Seed in European Journal of American Culture.
John Brenkman points out, “Miller’s commentary on the role of spies, lies, and audiotape in the Watergate era brilliantly resonates his whole analysis of seventies culture, from poetry and film to the new technologies of surveillance and new modes of recording history.” “Miller posits the ‘70s as the era when Americans got used to perceiving multiple simultaneous narratives—seen, unseen, implied, and excerpted," notes Julia Scher in Bookforum. “If Whitman had taken a Ph.D., this might resemble its outcome. Miller is not Whitman, but he is a Wit-man. Both are poets who have written large period pieces that signify their awareness of America in crucial times,” says Daniel Morris in Modern Fiction Studies.
Miller’s next critical project has an even wider breadth of interest than his first. He is considering post-World War II culture in terms of the “liquid totems” of Holocaust, computer, and suburbanization. Several versions of Miller’s evolving argument have already appeared in print in essays and, interestingly, in poems. “Stephen Paul Miller has written a great deal of poetry that is simultaneously cultural criticism or even scholarship,” notes Thomas A. Fink inA Different Sense of Power: Problems of Community in Late-Twentieth-Century U.S. Poetry(Farleigh Dickinson University Press). Miller, says Fink, ‘braids together treatments of various seemingly disparate cultural phenomena while [expositorilly] developing” expository relationships.
Miller’s poetry culminates in a new kind of poetry-criticism that uses engines of critical thought to drive poetic insight. After the publication of first poetry book, Art Is Boring for the Same Reason We Stayed in Vietnam (Domestic Press, 1992), M.L. Rosenthal said, “Stephen Paul Miller is an endearingly casual and lyrically resonant philosophical post- and pre-everything moment poet.” Katherine Arnoldi, in The St. Mark’s Poetry Project Newsletter says of Miller’s book length poem that “we follow Stephen Paul Miller’s poem, skipping down the page...not exactly surprised to find a candy house, Derrida, General Schwarzkopf, Blake, Magic Johnson, the Lower East Side....” Thomas A. Fink takes the title of his critical study, A Different Sense of Power, from a phrase in Miller’s first book, and, according to Fink, Art Is Boring for the Same Reason We Stayed in Vietnam “seems the ultimate enactment of self-critical reader response” that “indefatigably and brilliantly poses the immense question of how a thoroughgoing openness to differences can be situated in concrete intellectual practice.”
Miller is also the author of The Bee Flies in May (Marsh Hawk Press, 2002). About The Bee Flies in May, Andrew Ross says, “Miller’s mind is exactly the kind of soft, self-perpetuating machine that you want to access when your own is running out of juice.” In Sidereality, Madeline Tiger says, “Chinua Achebe refers to the Igbo earth goddess, Ani, ‘who cradles creativity as a child on her left knee and holds up the sword of morality in her right hand.’ Stephen Paul Miller, in his stunning collection shows that he has heard this mandate. Miller retrieves history from unspeakable despair. There's a new air in the fast-talking quality of these poems, which go beyond ‘New York School.’ This collection shows how Miller has kept many worlds active.” Eileen Myles calls The Bee Flies in May “entertaining because it just happens” and “New York as poetry is....Stephen writes his poems on an invisible surface that breathes and grows. It’s like watching good poetry happen.”
Concerning Skinny Eighth Avenue (Marsh Hawk Press, 2005), Miller’s third book of poetry, Joyelle McSweeney, in Constant Critic, says, “Skinny Eighth Avenue is a lively, brainy, probing and variform collaboration between the latter-day New York School poet/critic Stephen Paul Miller and his artist son, Noah Mavael Miller, who was in third grade at the time of the book’s release about a year ago. Miller’s erudite, humane, and yes, talky poems are punctuated by young Noah with exuberant drawings of mastodons, turtles, and other fauna, often climbing into and out of computer-generated holes....Skinny Eighth Avenue is as packed, fleet, worldly, busy and exhilarating as any New York thoroughfare, neither cute nor particularly skinny, a hurtling and compelling book.” In the Brooklyn Rail, Carol Wierzbicki calls Miller’s means of disseminating content “uniquely affecting. Miller has redefined the confessional poem.” In the Boston Review, Barbara Fischer observes, “there’s no place for compression or fragmentation in Stephen Paul Miller’s third book of poems, which embraces a mode of ‘ongoing discourse’ in order to narrate, argue, and inquire at length and in complete sentences. Miller’s expansive lines migrate across the page from margin to margin, an undulating motion that propels a breezy prosaic tone. This conversational fluidity and unstrained syntax enables him to address politics, current events, theoretical concerns, and personal experience with both critical acumen and wry self-mockery.”
Skinny Eighth Avenue “addresses ongoing effects of the Holocaust, secular Judaism, children and academia,” according to Publisher’s Weekly. “Miller reacts to his time and raises many questions we often do not want to confront about religion, politics, and art. He does all of this within open forms that explore the page. He shows us connections that might usually be at play below our visual or perceptual range,” says William Allegrezza in Galatea Resurrects: A Poetry Review. Jordan Davis, in the Paterson Review, remarks, “Miller can be as funny -- funny -- as Lenny Bruce....I'm ready to reread such Stephen Paul Miller classics as "I Was on a Golf Course the Day John Cage Died of a Stroke" (in Best American Poems 1994), and Art Is Boring for the Same Reason We Stayed in Vietnam.”
“Stephen Paul Miller is either the Last Poet of the New York School or the First Poet of the New New York School. Probably both. These poems twist on a diamond, creating the shape of art and some sort of wisdom on the inside. Like an ice cream cone....Something postmodern, post-postmodern, post-everything. Finding something to live for in the pain is the joy of this poetry,” says Bob Holman. “Skinny Eighth Avenue is poetry of the future. But it’s grounded in a wildly flexible strength of language,” Maria Mazziotti Gillan comments. Sam Truitt, inAmerican Book Review, envisions, “Our consciousness needs a new conscience: human consciousness needs a new keel. Some of its lines of design may be found on Skinny Eighth Avenue.”
Dr. Miller, with Terence Diggory, co-edited Scene of My Selves: New Work on the New York School Poets, (National Poetry Foundation, 2000). He is currently editing Radical Poetic Practice/Secular Jewish Culture. Talisman House Press is publishing a fourth book of his poetry, Being with a Bullet, in 2008. Miller earned a B.A. in English and M.A. in American Studies from CCNY in 1972 and 1983 and a Ph. D. in American Studies from NYU in 1990. Dr. Miller was a NEH Summer Seminar for College Professors participant in John Brenkman’s “Emergent American Literature” seminar at CUNY in 1995. In 1995, he earned a Gerald R. Ford Presidential Library Research and Travel Grant, and, in 2002, a Columbia University Seminar Office Grant. He co-chaired the Columbia University American Studies Seminar from 1999 to 2002. He served as a tenure evaluator for CUNY, and he was a Ph.D. dissertation reader for the Comparative Literature Department, University of the Witwatersrand, Johannesburg, South Africa. He has been a manuscript reviewer for University of Toronto Press, University of Southern Illinois Press, Purdue University Press, University of Mississippi Press, Transformations, and PMLA (Publication of the Modern Language Association). He is now a member of the Transformations Editorial Board, a Trustee of the New Jersey College English Teachers Association. He currently is a St. John’s University Faculty Association Executive Board member, St. John’s University Center for Teaching and Writing fellow, and editor of Cultural and Poetic Inquiry.
2003: It’s in the Bagh, Dad, Iraq Iran the Clock, or George Whatever Bush, Bowery Poetry Club, N.Y.C.
1989: Avon. La Mama, and Theater Genesis at St. Mark’s Church in the Bowery, N.Y.C.
1988: Stephen Paul Miller's Andy Warhol.”The Kitchen and BACA, N.Y.C.
1986: Aristophanes's Ode to Night Called Plutus (co-written with Billy Bergman, we wrote the whole play together). The Medicine Show Theater, N.Y.C.
1985: Whatever Bernard Goetz, 8BC, N.Y.C.
1984: Infallible, University of Vermont, Burlington.
1984: Full Words, Intersection, San Francisco.
1983: Stephen Paul Miller's Sunnyside. P. S. 122, N.Y.C. [reviewed in Village Voice].
1982: Do You Think Nixon Knows People Were Happier Before He Was President?, Life Cafe.
1980: Harrisburg, Mon Amour (co-written with David Shapiro). The Kitchen, N.Y.C. [reviewed in Art in America, Artforum].
2007, St. Mark’s Poetry Project, New Year’s Day Marathon.
April 2006, Books Without Borders, Eugene, Oregon.
April 2006, St. John’s University Library.
March 2005, Ceres Gallery.
April 2005, St. John’s University Library.
April 2005, University of Buffalo.
October 26, 2005, St. John’s University library.
July 14, 2005, Avenue B and 6th Street Garden.
May 2005, Teacher and Writers Collaborative, NYC.
April 2005, Medaille College, Buffalo, NY.
April 2005, St. John's University library.
May 2003, St. Mark’s Church Poetry Project, NYC.
April 2003, Children’s poetry at Drawing Center, NYC.
September, 2003, northern New Jersey Jewish Community Center.
February 24, 2003, KGB Bar, 85 East 4th Street and Second Avenue presented by David Lehman and Star Black.
October, 2003 The Bowery Poetry Club.
November 2003, Cornelia Street Café.
November 2003, The Ear Inn.
June 1997, Poetry Reading, American Studies Center University of Warsaw.
June 1997, Poetry Reading, Cracow Cultural Center, Poland.
1995 Poetry New York Reading at Tribeca Lab, N.Y.C.
1994 The Sixth Street and Avenue B Garden, N.Y.C.
1994 Organized and participated in six poetry readings at the Sidewalk Cafe, N.Y.C.
1994 The Poetry Project, St. Mark’s Church, N.Y.C.
1994 Unmuzzled Ox Reading, December 8th, at Wares for Art, N.Y.C.
1993 Nobar, N.Y.C.
1991 Ear Inn, N.Y.C; University of Nice, France.
1991 Washington Square Church, N.Y.C.; Medicine Show Theater, N.Y.C.
1992 City University of New York Graduate Center; Siné Cafe, N.Y.C.; Tenth Street
1990 Ethical Culture Society, N.Y.C.; Nuyorican Poets’ Cafe, N.Y.C.; La Mama Galleria; “Gas Station,” N.Y.C.
1989 Knitting Factory, N.Y.C.; La Mama Galleria, N.Y.C.; The Garden, N.Y.C.
1988 New York University.
“David Shapiro and Jasper Johns: an Analogy.” NEMLA, Philadelphia, March 2006.
“Turing, Anti-Enigma,” International Popular Culture Association conference. Swansee. Wales, August 2005.
“Heidegger, Poetry, and Nation.” NJ English College Professors conference, April 2006.
“Poetry-Criticism,” Tel Aviv University, Israel, December 29, 2005.
Moderator. Contemporary Literature panel. Mid-Atlantic Culture Association conference. New Brunswick, NJ, October, 2005.
“Metamodern Poetry.” Hunter College, October 2005.
“Secular Jewish Culture/Radical Poetic Practice.” six person discussion with Paul Auster, Charles Bernstein, Kathyryn Hellerstein, Marjorie Perloff, Jerome Rothenberg, Center for Jewish History, New York City, September 21, 2004
March, 2002: “Row: Computers, Suburbs, and Holocaust. City University of New York, Graduate Center.
New Formalist Poetry and Criticism, participant in seminar, Steven Schneider,’s West Chester University Poetry Conference, June 8-11, 2005.
“‘The Hustle’ as Post-World War II Totem,” Mid-Atlantic Popular Culture Association, Buffalo, November 2004.
“Post-World War II Totems: Holocaust, Computer, and Suburb,” Popular Culture Association, April 2004, San Antonio, Texas.
“There Goes the Nation State: Bob Dylan and Hannah Arendt,” Popular Culture Association, April 2003, New Orleans, La.
“Philip Roth and the Holocaust,” 20th Century Literature Conference, University of Louisville, February 2002.
“Why Is It Can’t Happen out of Here out of Print?” SUNY Cortland Conference on Language and Literature, SUNY Cortland, Cortland, NY, October 2002.
"Eliot, Dylan, Turing” MLA, New Orleans, LA. December 2001.
“Royal Tyler’s The Algerine Captive: Disentangling Alliances,” MLA, San Francisco, CA., December 1998.
Respondent: New York School poetry exclusive of Ashbery and O’Hara panel, MLA, San Francisco, CA., December 1998.
“Ray Davies as a Filmmaker: Some Thoughts on Return to Waterloo.” Popular Culture Association. Orlando, FL., April 1998.
“The 1973 Mets and the Oil Crisis.” Mid-Atlantic Popular/American Culture Association conference. Baltimore, MD. October 1997.
“For James Joyce.” Bloomsday James Joyce conference, Jagiellonian University, Cracow, Poland., June 1997
Respondent: American Literature in Poland panel, American Studies Center, University of Warsaw American Studies Center, June 1997..
“Sociopolitical Transformations in the 1970’s,” Fulbright “Excellence in Transatlantic Exchanges,” Berlin, Germany. March 1997.
“Ashbery and Late Stevens.” Delivered at Modern Language Association, Washington, DC. December, 1996.
“Frank O’Hara, Donald Judd, and the Cuban Missile Conference.” Delivered at Modern Language Association , Washington, DC. December, 1996.
MLA New York Poetry Panel proposed and chaired, “The New York School: Cultural/Aesthetic Perspectives.” MLA, Washington, DC, 1996.
Chair, three “New York Poetry” panels, Popular Culture Association. Las Vegas, Nev. March 1996.
“Multicultural Readings of New York School Poetry.” Popular Culture Association. Las Vegas, Nev. March 1996
The Poet-Critic in New York Poetry.” Delivered at the Northeast Modern Language Association conference. Montreal, Quebec. April 19-20, 1996
“Self-Portrait in a Convex Mirror: Pockets out of Time.” Delivered at American Literature Association, San Diego, CA. June 1996.
Chair and Organizer: “Image and Text” panel. Northeast Modern Language Association conference. Boston, Mass. March 31-April 1, 1995.
“Fingering the Word in Morrison, Tan, and Erdrich.” Delivered at the Northeast Modern Language Association conference. Boston, Mass. March 31-April 1, 1995.
Panel presentation for “Creative Thinking” panel at Humanities Department, Laguardia College, New York City. April, 1995.
“Early and Late Seventies Vietnam Films: Patton and Apocalypse Now” Popular Culture Association. Philadelphia, PA. April 12-15 1995.
1995 Active Participant: Navigator Solutions Workshop with Dr. Paul Privateer. Research for Multicultural Syllabus. St. John’s University, New York City. September 28-29.
“Close Reading: Technology and Sport.” Mid-Atlantic Popular/American Culture Association conference. Syracuse, NY. November 13-14, 1995.
“Space and Identity: Micro-Periodizing the Movies of the Seventies.” Delivered at the Northeast Modern Language Association conference. Pittsburgh, Pa. April 8-10, 1994.
Chair and Organizer, “The Impact of Postmodernism on American Literature” panel, 1994 topic: “The Cold War, Postmodernism, and American Literature.” Northeast Modern Language Association conference. Pittsburgh, Pa. April 8-10, 1994.
“Adrienne Rich's Your Native Land, Your Life. Renarrativizing Nativity, Identity, and Power.” Delivered at the International Conference on Narrative Literature. Vancouver, British Colombia. April 28-May 1, 1994.
“Historical Interconnections.” Delivered at the 16th Annual Conference of the Association for Integrative Studies, Pittsburgh, PA. September 29-October 2, 1994.
“Aesthetics, Ideology, and Seventies Poetry.” Delivered at the Thirtieth Conference in Modern Literature, sponsored by Michigan State University. East Lansing, MI. October 6-8, 1994.
“The Vietnam War Connoted and Denoted in Two Seventies Films.” Delivered at the Mid-Atlantic Popular/American Culture Association conference. Wheeling, W. Va. October 28-October 30, 1994.
“Periodizing at the Visual and the Verbal Point of Inscription: Ashbery, Nixon, and Johns.” Delivered at the Northeast Modern Language Association conference. Philadelphia, Pa., April 1993.
1993 Secretary: “Postmodern Problems,” Image and Text panel, Northeast Modern Language Association conference. Philadelphia, Pa.
1993 Paper: “Narrative, Surveillance, and Warhol.” Delivered at the Narrative Conference of the Society for the Study of Narrative. Albany, N.Y.
November 5-7, 1993Paper: “Periodizing Ashbery and His Influence.” Delivered at the Mid-Atlantic American Culture/Popular Culture Association Conference. Philadelphia, Pa.
1992 Paper: “Ekphrasis and Baldwin” Delivered at the Afro-American panel, Northeast Modern Language Association. Buffalo, New York.
1992 Chair and Organizer: “Image and Text ” panel. Delivered at the Northeast Modern Language Association conference. Buffalo, New York.
1992 Recorder/Reactor: “Using Drama in the Classroom to Promote Language Development and Thinking Skills ” panel; “Children as Historians—Challenges, Formats, Results” panel. Delivered at the National
Conference of Teachers of English, Spring Conference, Washington, D.C.
1991 Paper: “John Ashbery’s ‘Self-Portrait in a Convex Mirror’ as an Ekphrastic Poem and Cultural Artifact in the Light of Hart Crane’s The Bridge." Delivered at the “Ekphrasis” panel, Society for the Study of Narrative Literature’s International Conference on Narrative. Nice, France.
1991 Paper: “Talking Pictures: Nella Larsen’s Passing.” Delivered at the Women’s African American Literature Panel, Northeast Modern Language Association. Hartford, Connecticut.
1990 Chair, “Art as Commodity” panel. “Sister Arts” conference. Skidmore College.
June 1997. “Minimalism and Frank O’Hara.” Minsk Institute of Languages, Belarusse.
April 1997. Lecture: “Film as Cultural Artifact,” American Studies Center, University of Warsaw American Studies Center.
April 1997. Lecture: “Frank O’Hara and the Cold War,” University of Warsaw English Institute. October 1996.
April 1997. Lecture: “American Films of the 1970’s” USIA Lecture Series, American Consulate, Cracow, Poland.
November 1996 Lecture: “A Theory of America in the Seventies,” English Institute, Jagiellonian University, Cracow, Poland.
December, 1996. Lecture: “Micro-Periodizing the Seventies” American Studies Center, University of Warsaw American Studies Center, Poland.
February 1996. Lecture: “The Seventies Now,” for Columbia University’s American Civilization Seminar. Columbia University, New York City.
October, 1995. “Multicultural Connections,” a Convocation lecture delivered at Franklin College, Indiana.
April 13, 1993 Lecture: “John Ashbery and Watergate: Surveillance and Reality-Testing in the Mid-Seventies.” Delivered at Harvard University, sponsored by the Committee on Degrees in History and Literature and the Poetry Study Group. Cambridge, MA.
November 16, 1993 Lecture: “A Window on the Seventies: Poetry, Culture, and Surveillance.” Delivered at Fairleigh Dickinson University, sponsored by the Department of English. Madison, N.J.
Being with a Bullet, Talisman, forthcoming 2007.
Liquid Totems: Holocaust, Computer, and Suburb, manuscript in progress.
Secular Jewish Culture/Radical Poetic Practice, edited manuscript under consideration by University of Alabama Press.
Skinny Eighth Avenue, Marsh Hawk Press, 2005 [reviewed in American Book Review, Boston Review, Publisher’s Weekly, Brooklyn Rail, Galatea Resurrects: A Poetry Review, Midwest Book Review, Paterson Review, Constant Critic].
The Bee Flies in May, Marsh Hawk Press, 2002 [reviewed in Sidereality, Home Planet News. Muse, Book/Mark].
The Scene of Our Selves: New Work on New York School Poetry, co-edited with Terence Diggory, University of Maine: National Poetry Foundation, 2000 [reviewed in Contemporary Literature, Rain Taxi, American Book Review].
The Seventies Now: Culture and Surveillance, Duke University Press, Durham, N.C., 1999 [reviewed in American Literature, San Francisco Chronicle. The Utne Reader, Rethinking History, Bookforum, Muse, Book/Mark, Long Island Voice, European Journal of American Culture, American Literary Scholarship, Postmodern Culture, Choice, Journal of American History, Modern Fiction Studies].
Art Is Boring for the Same Reason We Stayed in Vietnam, Domestic Press, 1992 [reviewed in St. Mark’s Poetry Project Newsletter].
Nowhere to Go, Backwoods Broadsides, 2004
“John Ashbery and Narratology: The Story is the Telling,” accepted for Poetry and Narrative. Steven Schneider, editor. Forthcoming 2007. Farleigh Dickinson University Press.
“David Shapiro and Jasper Johns: The Ego in the Egoless Pie,” accepted for David Shapiro: A Critical Anthology. Joseph Lease, editor. Forthcoming 2007. Farleigh Dickinson University Press.
“Allen Grossman and the Metaphor of the Computer in Post-World War II America.” Sagatrieb. Volume 19, no. 1, 2005.
“Allen Grossman and the Metaphor of the Computer in Post-World War II America.” Poetry’s Poet: Essays on the Poetry, Pedagogy, and Poetics of Allen Grossman. Daniel Morris, editor. National Poetry Foundation, 2005.
“Berrigan’s Legacy: Sparrow, Myles, and Holman,” in The World in Time and Space:towards a History of Innovative American Poetry in Our Time, edited by Edward Foster and Joseph Donahue. Talisman: A Journal of Contemprary Poetry and Poetics #23-#26. Talisman House Publishers, Inc., Jersey City, N.J. 2002, pages 217-230.
“Elevated Tracks: The Films of Ray Davies," in Living on a Thin Line: Crossing Aesthetic Borders with the Kinks, edited by Thomas Kitts and Michael Kraus, Rock and Roll Research Press, Rumford, R.I., 2002, pages 143-157.
“Foreword: Stephen Paul Miller and Thomas Fink: An Exchange,” introduction for Gossip, Thomas Fink, Marsh Hawk Press, 2001, pages 8-22.
“O’Hara, Judd, and Cold War Accommodation: Perceptions Equalizing Ground and Figure,” Scene of My Selves: New Work on New York School Poetry, Terence Diggory and Stephen Paul Miller, editors, 2000, National Poetry Foundation, pages 175-186.
“Introduction,” Scene of My Selves: New Work on New York School Poetry, Terence Diggory and Stephen Paul Miller, editors, 2000, National Poetry Foundation, pages 1-9.
“Scrutinizing Maria Mazziotti Gillan,” VIA (Voices of Italian America), spring 1999, pages 56-62.
“Bringing Schwerner Back Home,” Talisman, #19, winter 1998/99, pages 109-111.
“The Ever New Nixon,” American Studies, the Journal of the American Studies Center at the University of Warsaw, 1998, Volume XVI, pages 79-89.
“O’Hara, Judd, and the Cuban Missile Crisis,” Belarussian Association of American Studies Yearbook, 1998, pages 64-75.
“On Unsettling America: Rethinking Multicultural Paradigms” number 16, Fall 1996. Talisman. pp. 87-91.
“On Translating Polish for the First Time,” Przekladaniec, 1996, number 2, pp. 101-103.
“‘Self-Portrait in a Convex Mirror,’ the Watergate Affair, and Jasper Johns’s Crosshatch Paintings: Surveillance and Reality-Testing in the Mid-Seventies,” boundary 2, pp. 84-115, 1995, Volume 20, Number 2, Summer 1993.
“America in the Seventies: Reflections on Five Films,” St. John’s University Alumni Quarterly, Fall 1993, pp. 5-9.
“Ashbery’s Influence: “A Wall” and “New York, 1974” American Letters & Commentary, Winter 1992, number four, pages 36-46.
“Assertions of Power,” Downtown, issue number 195, May 23, 1990, pages 1, 14.
“Mirror’s Backing as a Major Trope for the Year 1974,” The Staten Island Review, Fall/Winter, 1986-1987: pp. 60-68.
“American Identities: Stevens’s ‘An Ordinary Evening in New Haven’ and Ashbery’s ‘Self-Portrait in a Convex Mirror’ in the Light of Wallace’” in New Developments in English and American Studies: Continuity and Change, edited by Zygmunt Mazur and Teresa Bela, Jagiellonian University Press, 1998, pp. 367-377.
“Performing Quotations: Frank Zappa as Freak Out’ Aphorist,” in The Frank Zappa Companion: Four Decades of Commentary, edited by Richard Kostelanetz, Schrimer Books, an imprint of Simon & Schuster Macmillan, 1997, pp. 125-130.
“Periodizing Ashbery and His Influence,” The Tribe of John: John Ashbery and Contemporary Poetry, edited by Susan Schultz, The University of Alabama Press, pp. 146-167, 1995.
“Dunk,” Lit, forthcoming.
“Pancakes,” Another Chicago Magazine, forthcoming.
“Eruch Jessawala Says,” Black Clock, forthcoming.
“Mike,” “Tonight,” “Notes on a Song,” ”Choicest Blessings,” “Automotive.”Paterson Review. forthcoming.
“I’m Trying to Get My Phony Baloney Ideas about Metamodernism into a Poem.” Logos: a Journal of Modern Society and Culture. Fall 2005.
“Potato Chip.” Echolocation. #4, November 2005, page 33.
From Huricanes (poems written with Denise Duhamel): “B-Boy,” “George,” “W.,” “Bush,”“Desperate Young Americans,” “If RFK Had Become President,” (for Norman MacAfee).” Jacket. April 2006, # 29.
“Walt Elias Disney” (poem written with Denise Duhamel). Mangrove Review. #14, 2005, page 81.
“Photo Post” and “Linda Francis,” Sidereality, "volume 3, issue 2, (April-June 2004).
“Iraq Iran the Clock” and “George Whatever Bush, or It’s in the Bagh, Dad,” Long Shot (Spring 2004).
“Cake, Book, and Candle," Shofar: an Interdisciplinary Journal of Jewish Studies, vol. 21, no.1, Fall 2002, page 84.
“Cage,” Boog City, 2001.
"Pie," Another Chicago Magazine, 2000, no. 37, page 31.
"Washy," "Theater," Controlled Burn, Volume VI, Winter 2000, pages 50-53.
“Portrait of My Ex-Mayor Guiliani,” Poetry in Performance, Spring 2000, no. 28, page 160-61.
“Shy,” Paterson Review, 1999, no. 29, pages 40-47.
“Poem for Noah,”The New Journal, 1998.
“Hairline,” Poetry New York, Spring 1997, no. 9, pp. 111.
“Tape Gap,”Open City, 1996, number 4, p. 162.
“Valentino,” Mudfish, Spring 1995, number 8, page 151.
“Squash Omelette,” Talisman, Fall 1994, no. 13, page 271.
“Unabstracted,” (co-written with John Cage), Poetry New York, Winter 1994, no. 7, page 65-66.
“I Was on a Golf Course the Day John Cage Died of a Stroke,” The Best American Poetry 1994, edited by A.R. Ammons, published by Simon and Schuster, 1994, pp. 133-135.
“Dr. Shy,” Literature Around the Globe, (textbook) edited by Tazyline Jita Allan and Thomas Fink, published by Kendall/ Hunt, 1994, pp. 154-159.
“People,” Appearances, 1994.
“All Visual Materials Emit Countless Cartoon Bubbles,” Talisman, A Journal of Contemporary Poetry and Poetics, no. 11, Fall 1993, pp. 138-141.
“Chance,”The Poetry Project, St. Mark’s Poetry Project Newsletter, October/November 1993, p. 19.
“I Was On a Golf Course The Day John Cage Died.” Poetry New York, A Journal of Poetry and Translation, No. 5, Winter 1992/Spring 1993, p. 12/
“Seven Poems,” Tamarind, December 1992.
“Ralph Kramden Emerson Tonight,” Talisman, Spring 1992.
“Velvet Rocks,” Body Double, A La Mama La Galleria Publication, 1992, p. 7.
“Sing Like Stephen Miller,” St. Mark’s Poetry Project Newsletter, May 1992.
“Cutty” and “The Content in a Joke Is its Defense Mechanism,” Scripsi, Spring 1987.
“Motive,” B-City, Spring. 1986.
“The Last Avant Garde: the Next Generation.” Review of Ron Padgett’s Joe: A Memoir in American Book Review, spring 2005.
“Subatomic Woman in Black.” Review of Maria Mazziotti Gillan’s Italian Women in Black, in Voices in Italian Americana winter 2005.
“Hyper City Poet,” in American Book Review, Review of Hazel Smith’s Frank O’Hara: Hyper-Poet Volume 24, Number 1.
“What Happens to Me: Hyper-Entanglements,” American Book Review, Volume 23, Number November/December 2001, page 30.
“Human Rights,” Religion and the Arts, Vol. 3, Nos. 3-4, pages 481-83. Winter 1999.
“Modernism and the Other in Stevens, Frost and Moore,” The Wallace Stevens Journal, Volume 21, Number 1, Spring 1997, pp. 108-111.
“Exigent Lyricism,” Cover, April 1995, p. 18.
“Pluralist Eminence,” Cover, Winter 1993, p. 18.
“Dick Higgins’s Brown Paintings,” St. Mark’s Poetry Project Newsletter, January 1992, page 17.
“Poetry Project Symposium ’91: The Innovations are Welcomed,” Downtown. May 29, 1991, number 246, page 21.
“Interveiw with Stephen Paul Miller.” E-X-C-H-A-N-G-E-V-A-L-U-E, Oct. 2005.
Art Catalog Essays
“Molly Mason: Sun And Shadow,” Michener Art Museum, Bucks County, Pa., 1999, p. 1.
Dana Gordon, Paintings 1992, 55 Mercer Gallery, January 1993, Essay: “New Pictorial Environments,” 55 Mercer Gallery, NYC, pp. 1-3.