Grateful acknowledgment is made to the following publications, in whose pages these works first appeared often in a slightly different form:

    • African American Review: "Breckinridge Mill Dam: Virginian Summer."
    • American Poets & Poetry:  "The Obtuse of a Literary Triangle."
    • Artisan: A Journal of Craft: "Her Lover Eyes the Exit"; "The Red Eye of Dawn."
    • Anteup: "Having Survived Winter"; "It Creeps Over You."
    • Anthology: "Eldest Daughter of Wei."
    • Asheville Poetry Review: "Vera Geneva, 1939."
    • Artemis: "Basic Rules of Grammar."
    • Artisan: "Her Lover Eyes the Exit"; "The Red Eye of Dawn."
    • The Baltimore Review: "The van Gogh in Us All."
    • Barely South Review: "Salt."
    • Beloit Poetry Journal: "Late Night Ramblings."
    • The Brownstone Review: "Back Up Off Me"; "Funeral Arrangements."
    •  The Coe Review: "Not My Guitar: CC Rider Revisited."
    • Cold Mountain Review: "Ravished Landscapes."
    • Columbia: "Exegesis: A World Gone Awry."
    • Confluence: "Cris de Coeur."
    • Dogwood: A Journal of Poetry & Prose: "Scorned Is Scorned."
    • Eratica: "Flirtation in the Front Parlor"; "The Waffle House."
    • Feminist Studies: "Braiding Alexis" and "Ode to Sue."
    • Forces: "Predawn Aubade"; "Heavy in My Jesus Year."
    • Glass Tessaract: "NY to ATL in Fourteen Hours."
    • The Evansville Review: "A Drunken Sestina."
    • Evergreen Chronicles: "Cole."
    • The Iconoclast: "I Wanted to Take You Home."
    • Jabberwock Review: "A Trip."
    • Janus Head: "Bernadette, Vocalist, Age 27: Omaha, NE"; "Heathen”; “Perspectives of Someday Isle.", "Salah: Dulles Airport", "A Toast to Each Kiss"; "Trellis Laced with Morning Glories", "Vivid."
    • Karamu: "When Your Wife Is Beautiful and Other Myths of Creation."
    • The Lindenwood Review: "Jellyfish Heart"; "Trying to Explain."
    • Lummox: "Invoking Erato."
    • New Stone Circle: "Portrait of LoLo."
    • North Dakota Quarterly: "Charon the Ferryman"; "Paris"; “Ismene Speaks”; “E True Hollywood Story: M—.”
    • Obsidian II: Black Literature in Review: "The Answer to Your Question, Sir: Or the Diaspora of the Dahomey"; "But Never Seeing My Eyes"; De La of Justice"; "Double Negatives"; "Grand"; "Green Pods"; "Gulfport, Circa 1963"; "Hell in My Kitchen"; "Kuei-Ts'ai"; "Like Women of Long Ago"; "Mississippi: Journey, History, Acceptance"; "Phone Call: The Morning After"; "Show Don't Tell"; "Some Other Woman's."
    • Obsidian III: “Antics of Sadness and Despair”; "Bootstraps”; “Dreamweaver”; “Legacy to Our Daughters."
    • Paper Darts: “I Am Hephaestus.”
    • Papyrus: "Palimpsest."
    • Peregrine: "The Iron Bars."
    • Sliding Moon Press Literary Magazine: "Contemplating the Natural Order"; "The Cynic"; "Hokku Lunacy."
    • Structo Magazine: "Call My Name So My God Will Know Me."
    • The Southern Review: "Hera Has Her Say"; "A Siren Repents."
    • Tempus: "Boudica Burns Eden."
    • Touchstone: "Human Body, Human Mind."
    • UCity Review: "Lady Tiresias: Seven Years a Woman"; "Persephone:
      All Bound Up"; "Isle of Promethea"; and 'Invoking Erato."
    • Urban Spaghetti: "Exegesis." (reprint)
    • Wildflower Magazine: "Doubt"; "Her."
    • Xavier Review: "Troubling Accents", "Waking"; “Yes, I Was a Debutante."
    • The Dead Mule School of Southern Literature: "The Katrina Effect," "Requiem for Sonny Boy," "Blues Mama," "Equanimity," "Stay," "Transfiguration," and "Puddlejumper: A. E. Link Field."

Thank you to the following institutions and organizations financial support and time to write:

    • Clifford D. Clark Graduate Fellowship Program for Diversity Clifford D. Clark Graduate Fellowship Program for Diversity—Binghamton University
    • Callaloo Creative Writing Workshop
    • Georgia Council for the Arts
    • Hollins University Creative Writing Program
    • Idyllwild Arts Summer Program
    • Leo Love Merit Scholarship in Poetry


A debt of gratitude is owed to the following writers for often making a way out of no way:

      • Milton Kessler
      • Natasha Trethewey
      • Susan Strehle
      • Valerie Martínez

And—as ever, as always—to Klyne, my sons, and my family…