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November 2015

CURRICULUM VITAE

THYLIAS MOSS

Professor Emerita of English

University of Michigan Department of English Language and Literature

3247 Angell Hall Ann Arbor, Michigan 48109-1003

Phone: (734)487.1557

Professor Emerita

of Art & Design University of Michigan School of Art & Design

Art & Architecture Building

Email Address: thyliasm@umich.edu

EDUCATION M. A. 1983 English-Writing University of New Hampshire A. B. 1981 Creative Writing Oberlin College PROFESSIONAL EXPERIENCE 2015-present Professor Emerita of English and the Stamps School of Art & Design 2006 - 2014 Professor of Art & Design, School of Art & Design, The University of Michigan 1998 - present Professor of English, Department of English Language and Literature, The University of Michigan 1994 -1998 Associate Professor of English, Department of English Language

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and Literature, The University of Michigan 1993 - 1994 Assistant Professor of English, Department of English Language and Literature, The University of Michigan 1992 - 1993 Fannie Hurst Poet, Department of English, Brandeis University 1991 - 1992 Visiting Professor of English, Department of English, The University of New Hampshire 1984 - 1992 Instructor of English, Department of English, Phillips Academy, Andover, Massachusetts 1983 - 1984 Lecturer, Department of English, The University of New Hampshire 1981 - 1983 Graduate Teaching Assistant, Department of English, The University of New Hampshire 1980 - 1981 Instructor of Beginning Creative Writing, Creative Writing Program, Oberlin College 1978 Inventory Specialist and Trainer, Shortage Control/Loss Prevention, The May Company, Cleveland, Ohio 1975 - 1978 Junior Executive Auditor, Shortage Control, The May Company, Cleveland, Ohio 1972 - 1973 Drama and Reading Rehabilitation Specialist, Bellevue Elementary School, Syracuse, New York AWARDS and HONORS 2016 Video poam, "The Glory Prelude, on exhibit at the Pulitzer Arts Foundation, 15 April - 2 July 2016 2010 Panelist for the Kresge Foundation 2009 Elizabeth Bishop Lecturer, Vassar College 2008 “Bubbling” video poam, selected for screening in the Zebra International Poetry Film Festival in Berlin, Germany

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2008 Judge of the March Hawk Poetry Prize for March Hawk Press 2008 Judge of the Norma Farber First Book Award for the Poetry Society of America 2007 Pushcart Prize for “The Subculture of the Wrongfully Accused” originally published in Poetry Magazine 2007 “Verde: the Greening of Electrons,” a video poam, and “My Galactic Octopus,” a video poam, selected for screening in the VVVF – Venturous Vanguard Video Festival at three California locations and at Altered Esthetics in Minneapolis, Minnesota 2007 The Frederick Bock Prize from Poetry Magazine for the poem “The Subculture of the Wrongfully Accused” 2006 Featured in the Michigan Difference PSA 2006 $5,000.00 Faculty Development Award in support of further work in Limited Fork Poetics: the study of interacting language systems 2006 Tokyo Butter starred review in Booklist and Publishers Weekly 2006 “Place Value,” an experimental film selected for screening at MOAD: the Museum of the African American Diaspora, SFNoir, sponsor, San Francisco, California 2006 “Project Genealogy” selected for “On the Same Poem: Forsyth County, North Carolina Reads a Poem by Thylias Moss 2005 “Displacement,” an experimental film, selected for group show at Work Gallery, Ann Arbor, Michigan 2004 “My Master Is a Collector,” a film and interactive performance based on Slave Moth by Thylias Moss, with collaboration from Marianetta Porter, Cynthia Pachikara, Terri Sarris, Frank Pahl, Sherri Smith, and Ansted Moss, selected for screening in the Ann Arbor Film Festival 2004 Slave Moth starred review in Booklist 2003 Nominated for a Pushcart Prize 2002 Nominated for a Pushcart Prize 1999 Last Chance for the Tarzan Holler nominated for the National Book Critics Circle Award in Poetry 1999 Last Chance for the Tarzan Holler named a best book of 1998 by The Village Voice

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1999 Nominated for Pushcart Prize XXIV 1998 Nominated for Pushcart Prize XXIII 1997 “The Warmth of Hot Chocolate” selected by Harold Bloom for The Best of the Best American Poetry, 1988-1997 1997 “In the Right Empowerment of Light” selected by John Hollander for The Best American Poetry 1998 1996 Named Fellow of the John D. and Catherine T. MacArthur Foundation 1995 Named a Fellow of the John Simon Guggenheim Memorial Foundation 1995 Nominated for an Annie Award 1995 Nominated for a Pushcart Prize 1995 National Endowment of the Arts Literary Panelist in Poetry 1997 Panelist for the Bush Artists Fellowship Grant 1994 Listed, for Small Congregations, in “Appendix D: A Canonical Prophecy” in The Western Canon, by Harold Bloom 1994 Academic Specialist Grant from the United States Information Agency 1996 Featured in the PBS “, of Poetry” and featured on the companion CD and audio cassette, "9:08: A Nagging misunderstanding" A Day in the Life, segment, and "Green LIght and Gamma Ways": "The American Dream Segment", film by Joshua Blum and Bob Holman 1996 Judge of the Norma Farber First book Award for the Poetry Society of America 1996 Judge of the 1996 HugoBoss poetry on the Internet contest 1997 Solicited for Who’s Who Among Black Americans 1994 I Want to Be named a best children’s book by USA Today 1994 I Want to Be named a best children’s book by The Detroit Free Press 1993 Solicited for Who’s Who Among American Teachers 1993 Nominated for a Pushcart Prize

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1992 Winner of the Ohioana Book Award in Poetry 1992 Winner of the Dark Room Award for Poetry 1991 Winner of a $30,000.00 Whiting Writer’s Award 1991 Winner of the Dewar’s Profiles Performance Artist’s $10,000.00 Award 1991 Winner of the 1991 Witter Bynner Prize awarded annually to a distinguished younger poet by the American Academy and Institute of Arts and Letters 1992 “An Anointing” in Best American Poetry 1991 “Lunchcounter Freedom” in Best American Poetry 1990 “There Will Be Animals” in Best American Poetry 1989 “The Warmth of Hot Chocolate” in Best American Poetry 1990 Nominated for the National Book Critics Circle Award 1990 Winner of the National Poetry Series Open Competition 1990 Pushcart Prize XIV for “Interpretation of a Poem by Frost” 1989 National Endowment of the Arts grant recipient 1987 Artist’s Foundation of Massachusetts grant recipient 1990 Kenan Charitable Trust grant recipient 1989 Kenan Charitable Trust grant recipient 1988 Kenan Charitable Trust grant recipient 1984 Winner of the Indiana Review poetry prize 1983 Ohio Poet of the Year finalist 1983 Nominated for Pushcart Prizes XV, X, XVIII, and XX 1983 Finalist for the Best of the Great Lakes first book prize 1984 Best Play, Talking to Myself, New England Theater Conference, Providence, Rhode Island

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1981 Finalist in California Quarterly’s fiction contest 1981 Academy of American Poets College Prize, Oberlin College 1981 Graduated Phi Beta Kappa and first in class, Oberlin College 1978 Winner of the $25.00 Cleveland Public Library poetry contest for “Coming of Age in Sandusky” 1971 National Merit Commended Student PUBLICATIONS Books: Wannabe Hoochie Mama gallery of Realities' Red Dress Code, a volume of New and Selecter Poetry, Persea Books, 2016. Tokyo Butter, a volume of poetry, Persea Books, 2006. Slave Moth, a novel in verse, Persea Books, 2004. Tale of a Sky-blue Dress, a memoir, Bard Division of Avon Books, August 1998. Last Chance for the Tarzan Holler, a volume of poetry, Persea Books, March 1998, a finalist for the 1999 National Book Critics Circle Award and a best book of 1998 by The Village Voice. I Want to Be, Dial Books for Young Readers, September, 1993, a Literary Guild Selection, recipient of a starred review in Publisher’s Weekly, School Library Journal, and Kirkus Reviews; recommended by Reading Teacher, an American Bookseller’s Pick of the List for 1993, named a best children’s book of 1993 by USA Today and The Detroit Free Pres. Small Congregations, a volume of new and selected poems, Ecco Press, June 1993. Rainbow Remnants in Rock Bottom Ghetto Sky, Persea Books, June 1991, winner of the National Poetry Series 1990 Open Competition, and winner of the 1992 Ohioana Book Award. At Redbones, Cleveland State University Poetry Center, June 1990. Pyramid of Bone, University of Virginia Press, March 1989, nominated in 1990 for the

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National Book Critics Circle Award in Poetry. Hosiery Seams on a Bowlegged Woman, Cleveland State University Poetry Center, 1983; finalist for the Best of the Great Lakes first book prize. Installations (group): "The Glory Prelude", a video poam, part of "Laboratory Sanctuary, at the Pulitzer Fine Arts Gallery, 15 April 2016 - 2 July 2016, St. Louis, MO. “Lexicon 97,” a freeform book of poetry made from the lexicon extracted from 97 T-shirts discarded in Washtenaw County, Slusser Gallery, Art & Design Faculty Exhibition, Ann Arbor, 2011. “The Glory Prelude to a Widow Shrine System,” Intermission exhibition (in conjunction with the Ann Arbor Film Festival), Ann Arbor Art Center, 2010. “Forkergirl and the Multiverse” video trilogy: “Forkergirl Particle Pops a Beaded Multiverse,” “Particle Popping: Just Digging on the Muon Blues,” and “Feeling Kelvin [wheel rocket caliente mix],” playing nights in the window of Work Gallery, State Street, Ann Arbor, Spring 2009. “Domestic Dimensionalities of a Universe Nests Here,” incorporating elements of “Center Pieces” and “Mother’s Day” with audio artist’s statement for the Art & Design Faculty Exhibition, 2009. “Center Pieces ([the audacity of] a full service place setting for ten heavens,” a Mixed Media Assemblage (wood, cloth, ink, paper, tea glue; consisting of, in part: hand-sewn burqa, hand-drawn face, hand-stamped wood, metal, paper) (fixture: glass, metal); CD (related audio; Thylias Moss reads “Center Pieces” [shirt short stories]) in A Place at the Table, Ann Arbor Art Center, June-August 2008. “Wannabe Hoochie Mama GALLERY OF REALITIES Red Dress Code,” video poam, rEVOLUTION exhibition, Duderstadt Center Gallery, Ann Arbor. April 2008. “Mother’s Day” graphic prose poam told in eight 20x30 panels, for “place•mark” exhibition exploring the nature of memory and the marking of personal sacred locations, Work Gallery, Ann Arbor, March 2008. “Wannabe Hoochie Mama GALLERY OF REALITIES Red Dress Code,” Playgallery, forkergirl youtube channel, 2008. “Heat Dozens” video installation commissioned for “Arts and Brain” session of the “Arts

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and Minds” conference presented by “Arts on Earth,” University of Michigan, Ann Arbor, 2007. “Intersections” installation of images (Jim Cogswell) and text (Thylias Moss) on the windows of Work Gallery, Detroit, 2007. “LFMK” (film, visual prints, sound) in the “rEVOLUTION” exhibit for SAPAC: the Sexual Assault Prevention and Awareness Center & Safe House Center, the Duderstadt Center Gallery, Ann Arbor, 2007. “Exploding Angels” (projection, audio, live components), “Arts & War” event, Mendelssohn Theater, Ann Arbor, 2007. “Pleasurable Complexity” (projections, sound, prints), the Duderstadt Center Gallery, Ann Arbor, 2006. “Place Value” (film), MOAD: Museum of the African-American Diaspora, San Francisco, 2006. “Displacement” (film, audio piece, print object), Work Gallery, Ann Arbor, 2005. Films: 9:08 - Nagging Misunderstanding, from The United States of Poetry, "A Day in the life" segment, film by Joshua Blum and bob Holman "Green Light and Gamma Ways, from The United States of Poetry, "The American Dream segment, film by Joshu Blum and Bob Holman “The Glory Prelude to a Widow Shrine System,” Intermission exhibition (in conjunction with the Ann Arbor Film festival,” Ann Arbor Art Center, 2010. “Cosmic Seduction: joined in progress,” Playgallery, forkergirl youtube channel, 2010. “DJ Adio Door Ways Ghost Relay: an adventure in Vibration Studies,” Playgallery, forkergirl youtube channel, 2009. “Hypnosis at the Bird Factory: an adventure in vibration studies,” Playgallery, forkergirl youtube channel, 2009. “Forkergirl and the Multiverse “ video trilogy: “Forkergirl Particle Pops a Beaded Multiverse,” “Particle Popping: Just Digging on the Muon Blues,” and “Feeling Kelvin [wheel rocket caliente mix],” Playgallery, 4orked.com, forkergirl youtube channel, Work Gallery, Ann Arbor, 2009.

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“Wannabe Hoochie Mama GALLERY OF REALITIES Red Dress Code,” Playgallery, forkergirl youtube channel, 2008, 4orked.com. “HEAT DOZENS: Elements of Damage,” Limited Fork podcast, Playgallery, forkergirl youtube channel, 2007. “HEAT DOZENS: Architecture of Simmer,” Limited Fork podcast, Playgallery, forkergirl youtube channel, 2007. “Bubbling,” Oregon Literary Review, Limited Fork Podcast, Playgallery, forkergirl youtube channel, 2007. “Frieze Framed by Friezes,” Limited Fork podcast, Playgallery, forkergirl youtube channel, 2007. “LFMK,” Limited Fork podcast, Playgallery, forkergirl youtube channel, 2007. “In Your Face,” Oregon Literary Review, Limited Fork podcast, Playgallery, forkergirl youtube channel, 2007. “Monday Aardvark of Laundry,” Limited Fork podcast, 2007. “Monday Aardvark of Laundry DETONATED,” Limited Fork podcast, Playgallery, forkergirl youtube channel, 2007. “Verde: the Greening of Electrons,” Limited Fork podcast, Playgallery, forkergirl youtube channel, 2007. “Ostrich Culture of Snowmen,” Limited Fork podcast, 2007. “My Galactic Octopus,” Limited Fork podcast, Playgallery, forkergirl youtube channel, 2007. “Place Value: The Poetry Constant,” Oregon Literary Review, 2007; Playgallery, forkergirl youtube channel, 2006. “Tornado Pi,” Limited Fork podcast, forkergirl youtube channel, 2006. “Pleasurable Complexity,” Limited Fork podcast, Playgallery, 2006. “ENG 500,” Limited Fork Productions, 2006. “Place Value,” soundtrack by Ansted Moss, Limited Fork Productions, 2006. “Displacement,” soundtrack by Ansted Moss, Limited Fork Productions, 2005. “DOD – the death of depth” (a Limited Fork Poetics birth diary), soundtrack by Ansted Moss, Limited Fork Productions, 2005.

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“Project Genealogy,” soundtrack by Ansted Moss, Limited Fork Productions, 2005. “Delicacies,” a film by Thylias Moss based on Slave Moth by Thylias Moss, soundtrack by Ansted Moss with Frank Pahl, Limited Fork Productions, 2004. “Wilt: Kilter: Collision,” an anthology film edited by Thylias Moss, soundtrack by Ansted Moss, Limited Fork Productions, 2004. “A Piece of the Culture of Funnel Cake,” soundtrack by Ansted Moss, Limited Fork Productions, 2004. “The Song of Iota,” soundtrack by Ansted Moss, Limited Fork Productions, 2004. Broadcast: Limited Fork Theory interview on The Big Ten Network, 2009. “Verde: the Greening of Electrons,” video poam, Michigan Public Television, 2007. “Rush Hour,” video poam, Michigan Public Television, 2007. Interview and Feature on The Big Ten Network, 2007. Audio: “The Pampering of Leora,” NOR Sound, 2009. “The Song of Iota,” Drunken Boat, 2009. “Rupted Sums,” Text Sound, 2008. “A Piece of the Culture of Funnel Cake,” music composed & performed by Ansted Moss of Strexx.com, words written and sung by Thylias Moss, Gargoyle #52, audio CD, 2007. “Monday Aardvark of Laundry,” MiPoesias, 2007. Websites: 4orkology.com The Mid-Hudson Taffy Company Lexicon 97 4orked.com

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Amazon Author Page Podcasts: Limited Fork Limited Fork Music Limited Fork Video Anthology (of work by students of LFP) Blogs: Primary: Thylias Moss Writer Moxie Supper A Limited Forker Girl's Tines Moxie Supper blogspot Class blogs: 579 Tines (a 2010-2011 class blog) Limited Fork Remix Culture (a 2010-2011 class blog) Limited Fork Boundary Studies (a 2010-2011 class blog) Limited Fork Time mapping (a 2010 class blog) Forked Adventures in Vibration Studies (a 2009 class blog) Forked Adventures in Vibration and Resonance Studies (a 2009 class blog) Limited Fork Theory Development Practicum Limited Fork Theory Atlas Intro to (Limited Fork) Poetry Limited Fork & The Impact of Technology A Limited Forker Girl's Tines Bifurcation Station Tine D.A.D.A. Club Tine Times Tine Times cyber workshop Tine Times 2 Video Poam Cyber Cinema:

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forkergirl you tube channel Text Poams: "Majorana Harem Culture" in anthology "Intimacy", editeed by Richard Krawiec, 2016. "A First Response to Tuning Forker Gyrl", BRN (Black Renissance Noir, Spring 2016. 'If you see something, say something," by Thomas Higginson and Thylias Moss, Wayne State Literary Review, Spring 2016. "Blue Coming", Colorado Reiew, 43.2, Summer 2015, in respons to Bob Holman's “What you can’t Understand is Poetry Is Connected to the Body Again” by Bob Holman: http://www.bobholman.com/what-you-cant-understand-is-poetry "The Glory Prelude" in The Offing, at this URL: http://theoffingmag.com/poetry/glory-prelude/ "The Afterlife of Corpses" in One at this url: http://one.jacarpress.com/#Thylias%20Moss “Alternative Manna la-dee-da-da Bonanza” in Gulf Coast, 2008. “Vector,” in Gulf Coast, 2008. “Bubble Carver” in Frigg, 2008. “Bubble Me” in Frigg, 2008. “Cogs in the Glass Machine” in Frigg, 2008. “Dream Cain,” in Cream City Review, Fall 2007. “Me and Bubble Went to Memphis,” Oregon Literary Review, 2007. “Homerun-style Cabrito Burger,” at quickmuse.com, April 2007. “The Pampering of Leora” in NOR, 2007. “World View” in NOR, 2007. “Absolute Hairlessness and the Cannibal” in The Canary, 2007.

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“Crops of Universes: A Red Dot’s Menu” in The Canary, 2007. “Ever Since Crib Days” in The Canary, 2007. “The Monday Aardvark of Laundry” in MiPoesias (online), Spring 2007. “The Culture of Extended Glass” in Cream City Review, Spring 2007. “Accidental Culture” in Poetry Daily (online), 9 November 2006. “The Culture of Snowmen” in Cream City Review, Fall 2006. “The Small World Studies Pictures of Cadavers 1839,” and “Status Report” in Callaloo, 2006. “The Continent of Reena and Marcus’ Marriage” in Poetry, Number 5, 2006. “Victim of the Culture of Facelessness,” in Boston Review, volume 31, number 1, 2006. “The Subculture of the Wrongfully Accused,” in Poetry, Number 4, 2006. “Cosmic Bullets,” at quickmuse.com, June 2006. “Lake Deirdre” in Fresh Water: Women Writing on the Great Lakes, edited by Alison Swan, 2006. “The Song of Iota,” and “Heads Wrapped in Flowers” in Gargoyle 50, 2005. "Prologue of the Book of Hallowed Verses of the Holy Circus of Decent Girls," failbetter.com, issue 18, http://www.failbetter.com, Fall 2005. “Ghee Glee,” “The Culture of Mr. Wonderful,” and “Reena and the Bear” in Columbia: a Journal of Literature and Art, Fall 2005. “The Culture of Glass,” in Bat City Review, Spring/Summer 2005. “Mulberry Breath as Proof of the Wave in Form of Question” in The American Scholar, Spring 2005. “The Unbuttered Subculture of Cindy Birdsong” in Konundrum, an online literary journal, http://lit.konundrum.com/poetry/mosst_poems1.htm. “Jennifer Shows Me the Wave in Form of Question” in Born Magazine, an online journal, http://www.bornmagazine.org. “The Culture of City Peaches” in Callaloo, 2005.

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“The Sum of Part One,” in collaboration with Matthew Ganderson, in Red, White, and Gray, Spring 2005. “La cultura de pescada,” in Michigan Quarterly Review, Spring 2004. “On the Curve of Solving for B,” a poem in VRML (virtual reality modeling language), Fall 2003, http://www.engin.umich.edu/class/eng477/projectsf03/. “Fiesta,” “First Grade Art: What Meets the Eye,” “Dreaming Again,” and “Cheating,” Solo number 3, Fall 1999. “Thrift Store” in Poetry International, issue 11, Fall 1998. “Seminoles,” “A Good Friday Wags Sunday’s Tale,” and “Tremendous Vehicles,” Fence, volume 1, number 1, 1998. “Advice,” Solo, number 2, Summer 1998. “Ant Farm,” “Hot Time in a Small Town,” “Making Dresses,” and “Chariots,” Kenyon Review, volume XX, number 1, Winter 1998. “Picturing the Good Brown Life in John Philip’s The Highlander’s Home (Sunshine in the Cottage) 1855, Oil on Canvas, an anthology of poetry that responds to the permanent collection of the University of Michigan Museum of Art, 1997. “The Right empowerment of Light,” Michigan Quarterly Review, vol. XXXVI, number 3, Summer 1997. “She’s Florida Missouri but She Was Born in Valhermosa and Lives in Ohio” reprinted in The Plain Dealer Sunday magazine, November, 1997. “Beginning the Rock at Abbot School” and “A Way of Breathing,” Callaloo, volume 19, number 3, 1996. “Ambition” and “Crystals,” Bellingham Review, volume 19, number 1, Spring 1996. “After Reading Beloved” and “Heads,” Michigan Quarterly Review, 1996, 1994. “In the Unholy Land of Sleep” and “Webs,” Sycamore Review, volume 8, number 1, 1996. “Accessible Heaven” and “The Limitation of Beautiful Recipes,” Crab Orchard Review, volume 1, number 1, 1995. “First Grade with de Gaulle,” Muleteeth, number 1, 1995. “In the Pit of Crinoline Ruffles” and “The Lighter Side of Shadows of Monsters,” The Nation, 1995.

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“Mornings,” Ploughshares, volume 20, number 1, 1994. “Renegade Angels,” Colorado Review, 1993. “Approaching Venus’s-flytrap During a Hungarian Film: A Subtitle,” Antaeus, 1993. “Beanstalk Dreams,” River Styx, number 38, 1993. “Holding,” “One Year Sonny Stabs Himself,” and “Remembering Kitchens,” Callaloo, volume 16, number 1, 1993. “Games,” Colorado Review, volume 20, number 1, 1993. “When I Was ‘Bout Ten, We Didn’t Play Baseball,” The New York Times, 1992. “The Warmth of Hot Chocolate,” Epoch, 1992. “Poem for My Mothers and Other Makers of Asafetida” and “Dwarf Tossing,” Field, number 42, 1990. “An Anointing,” Epoch, volume 39, number 3, 1990. “Lunchcounter Freedom,” Gargoyle, number 37/38, 1990. “Tornadoes,” Graham House Review, number 13, 1990. “Dennis’ Sky Leopard,” Iris, number 24, 1990. “Congregations,” “Birmingham Brown’s Turn,” and “Preferable Truth,” Callaloo, volume 13, number 4, 1990. “Raising a Humid Flag,” Sojourner, 1990. “She Did My Hair Outside, the Wash a Tent Around Us” and “The Lynching,” Ploughshares, volume 15, number 4, 1989-90. “A Godiva,” Field, number 40, 1989. “Fullness,” “Redbone’s as Nothing Special,” and “She’s Florida Missouri but She Was Born in Valhermosa and Lives in Ohio,” Iowa Review, volume 19, number 1, 1989. “The Root of the Road” and “To Buckwheat and Other Pickaninnies,” Callaloo, volume 12, number 2, 1989. “November and Aunt Jemima,” Graham House Review, number 12, 1989. “Landscape with Saxophonist” and “Spilled Sugar,” Graham House Review, number 11,

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1988. “One for All Newborns,” Callaloo, volume 10, number 4, 1987. “To Eliminate Vagueness,” “More Lessons from a Mirror,” “A Reconsideration of the Blackbird,” “The Road to Todos Santos Is Closed,” and “Timex Remembered,” Callaloo, volume 9, number 1, 1986. “Back to the Hyena,” “Doubts During Catastrophe,” and “The Dromedary of My Dreams,” Indiana Review, volume 8, number 2, 1985. “Acceptance of the Grave,” The Owl in Daytime,” “Secrets Behind the Names,” and “The Undertaker’s Daughter,” Indiana Review, volume 7, number 2, 1984. “Rush Hour,” Essence, December 1984. “Cook,” Poetry: Mirror of the Arts, number 1, 1984. “From the Bride’s Journal,” “Good Amnesia,” One-legged Cook,” and “Usual Betrayals,” The Gamut, number 7, Fall, 1982. Translations: “Unemployment” and “Folding Chairs,” by Emilio Mozo, translated from Spanish, Boreal International, volume 3, 1985. Essays: "The Extaordinary Hoof" from The Boston Review 23.3. Copyright Boston Review, 1993-2000., Online Source: http://www-polisci.mit.edu/bostonreview/BR23.3/moss.html "Contemplating the Theft of the Sow: An Appreciation of

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Galway Kinnell's 'Saint Francis and the Sow'" from Countermeasures: A Magazine of Poetry and Ideas 7. Online @ http://www.csf.edu/countermeasures/colloquium7-3.html Review of Crown of Weeds by Amy Gerstler, cFrom Boston Review 23.1. Copyright Boston Review 1993-2000, Online Source: http://bostonreview.mit.edu/BR23.1/moss.html "Artists on the Cutting Edge" “Tarsenna’s Defiance Garden in which I Love to Spit” in The Colors of Nature: Culture, Identity, and the Natural World, edited by Lauret Savoy and Alison Hawthorne Deming, Milkweed Editions, 2011. “Sixpack,” in One Word: Contemporary Writers on the Words They Love or Loathe, edited by Molly McQuade, Sarabande Books, 2010. “Forked Thinking: Tines as Adaptable Systems of Expression for Teaching and Learning (Toward a Generalized Theory of Making),” at Designs on e-Learning conference publication, Penn State University, Pennsylvania, 2008. “Unmixed Plate” in Callaloo. Comment on “On the Nature of Things,” by Lucretius, for Poetry Daily, 4 April 2007. “The Sound of Cosmic Bullets” in the QuickMuse blog at quickmuse.com, 2006. “What I do is articulate what is there when I look, when I strain to focus, cause something to resolve so that I can articulate what is now there. What I do is articulate too late when I look to cause something to resolve so that I can articulate better late than never to focus, strain articulation when that is there, resolved, caused when I look when I think to use whatever senses are available to look at the evidence of situation, examine it meaningfully so that it can articulate, can be articulated right there where it is looked at, the strain, center of focus, the senses trained on what resolves from the focusing, what is definitely available for my senses to look at, I can see the ear hearing, the mouth tasting, nose smelling evidence of situation that I can articulate what is now there, not what was there when I first looked at myself in the situation of having to use my senses meaningfully to resolve purpose in order to have something ordered to say, something worthy of situation of being not fully resolved, the focus on what it means to be in this situation, this Cha, this Cha, and this Cha, too: Cha-Cha-Cha: Praising Dimensions with a Limited Fork” in Boston Review, 2006.

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“Fork Addiction” (an introduction to Limited Fork Poetics), Columbia: a Journal of Literature and Art, 2005. “Advice to Poets” Quotes Community: Notes for Black Poets, edited by Thomas Sayers Ellis “Fork Poetics in 500 Words” in the University of Michigan Department of English Alumni Newsletter, January 2005. Poet’s Bookshelf: Contemporary Poets on Books that Shaped Their Art, pp. 135-137, edited by Peter Davis, 2005. “A Fine Line,” a conversation of Gwendolyn Brooks between Thylias Moss and Nikki Giovanni, The New York Times Magazine, 7 January 2001. “The Generosity of Arpeggios and Ravens,” Michigan Quarterly Review, vol. XXXIX, number 2, Spring 2000. “On Yehuda Amichai,” an essay on the first poems which led to a lifelong commitment to the architecture of language in First Loves, edited by Carmela Ciuraru, Scribner, 2000. “A Meditation on the Fortunate Illness that Occurs when ‘A Girl Gets sick of a Rose,” a contribution to a Gwendolyn Brooks symposium, Field, number 61, Fall 1999. “An Apology for Forgiveness’ Close Association with Cowardice,” Fourth Genre, vol. 1, number 2, Fall 1999. “Some Praise for a Little Right-sided Anarchy (that is also Tribute to the Lobe Girls),” a study of the ear in Body, edited by Sharon and Steve Fiffer, Avon, Summer 1999. “In Praise of Limits; or, A Preference for Flaws Is Not Flawed Preference” in American Poet, the Journal of the Academy of American Poets, Winter 1998-99. “The Extraordinary Hoof,” a response to Harold Bloom, Boston Review vol. 23, number 3- 4, Summer 1998. Review of Crown of Weeds, a volume of poetry by Amy Gerstler, Boston Review, February/March 1998. “Hope Is Not a Miracle,” in Voice of Bard, January 1998. “Contemplating the Theft of the Sow: An Appreciation of Galway Kinnell’s ‘Saint Francis and the Sow’” and “What Does This Have to Do with ‘Long Nook’?” in part two of a print colloquium on contemporary poetry in Countermeasures number 7, 1998. “Responding to Richard Wilbur’s ‘Lying’ and to ‘Metaphysical Anesthesia,” “Responding to Larry Levis’ ‘For Zbigniew Herbert’ and to its appreciation,” “Response

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to Rae Armantrout’s ‘Crossing’ and to ‘On Crossing,’” and “Response to Robert Creeley’s ‘the whip’ and to ‘What Was That?’: On Robert Creeley’s ‘The Whip’” as part of a print colloquium on contemporary poetry in Countermeasures number 6, 1997. “Braiding Day,” an essay in Borders Bookstores in-house catalog, February 1997. “On Angels,” an essay in Ecstatic Occasions, Expedient Forms, 1996. “My Better Half,” in a symposium on the “authorial I,” Antaeus, 1994, reprinted in Who’s Writing This, edited by Daniel Halpern, Ecco Press, 1995; in Our Better Halves: Autobiographical Musings, edited by David Graham and Kate Sontag, Greywolf, 2001. “Literature as Architecture,” an article for the My Back Pages column of the Boston Globe, 6 November 1994. “Stoking the Fire: The True Profession of a Poet,” an interview of Charles Simic in The New Hampshire Alumnus, winter 1991. “Making It Yours,” a chapter in A Very Good Place to Start, a textbook on the teaching of writing and literature, 1990. Prose: "Mongongo Drupe" , Callaloo, Number 1, winter 2015. (<http://muse.jhu.edu/login?auth=0&type=summary&url=/journals/callaloo/v038/38.1.moss.html>) “Verde,” in Poetry, February 2007. “Delivery in a Week,” in Working Days: Stories About Teenagers at Work, edited by Anne Mazur, Persea Books, May 1997. “Wings,” in Going Where I’m Coming From, edited by Anne Mazur, Persea Books, 1995. “Broad in 5 Movements,” Obsidian II, volume 1, numbers 1 and 2, 1986. Interviews: “Pi in the Sky”, interview by Fritz Swanson, LSA magazine, March 2013, https://www.lsa.umich.edu/lsa/ci.piinthesky_ci.detail

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Thylias Moss, interview by Malin Pereira, in Into a Light Both Brilliant and Unseen, University of Georgia press, 2010. “Shadows, Boxes, Forks, and ‘POAMS, ” an illustrated interview by Richard Siken for The Poetry Foundation, featuring examples of my visual still Limited Fork interactions, http://www.poetryfoundation.org/features/feature.onpoets.html?id=179856 “The Raggedness of Interacting Boundaries: An Interview with Poet Thylias Moss,” Lily Literary Review, http://freewebs.com/lilylitreview/1_7mossinterview.html. “One Should Exist Trying to Be Aware of as Much as Possible,” an interview of Thylias Moss, in Master Class: Lessons from Leading Writers, edited by Nancy Bunge, University of Iowa Press, 2005. "Out of the Blue" "The Raggedness of Interacting Boundaries" Anthologies in which my poems appear: A Child’s Anthology of Poetry, edited by Elizabeth Hauge Sword. A Poem a Day, edited by Laurie Sheck, forthcoming from Steerforth Press. A Visit to the Gallery, an anthology of poetry about works in the University of Michigan Art Museum’s permanent collection. African-American Voices, edited by Michele Stepto. An Ear to the Ground, an anthology of Contemporary American Poetry edited by Marie Harris. Angles of Ascent, a Norton Anthology f Contemporary African American Poetry, edited by Charles Henry Rowell, pp. 282-293: “The Day Before Kindergsrten: Taluca, Alabama, 1959”, “Timex Remembered”, “One for All Newborns”, “Mulberry Breath as Proof of the Wave in Form of Question”, “The Culture of Near Miss”, “Me and Bubble Went to Memphis” Best of the Best American Poetry 1988-1997, edited by Harold Bloom. Best American Poetry 1998, edited by John Hollander. Best American Poetry 1992, edited by Charles Simic. Best American Poetry 1991, edited by Mark Strand.

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Best American Poetry 1990, edited by Jorie Graham. Best American Poetry 1989, edited by Donald Hall. Best of the Best American Poetry, “There Will Be Animals”, 2013., edited by Robert Pinsky, April 2013. Black Nature: Four Centuries of African American Nature Poetry, edited by Camille Dungy, University of Georgia Press, 2009. Callaloo, edited by Charles Henry Rowell, “Remarkable Dust” and Role Modeling” volume 35, number 2, 2012. Colors of Nature: Culture, Identity, and the Natural World, edited by Alison Hawthorne Deming and Lauret Savoy, Milkweed Editions, 2011. Contemporary Michigan Poetry: poems from the third coast, edited by Josie Kearns, Wayne State University Press, 1999. The Extraordinary Tide: new poetry by American women, edited by Susan Aizenberg and Erin Belieu, Columbia University Press. Every Shut Eye Ain’t Sleep, an anthology of contemporary African-American poetry, edited by Michael Harper. Fresh Water: Women Writing on the Great Lakes, edited by Alison Swan. The Garden Thrives, an anthology of twentieth-century African-American Poetry, edited by Clarence Major. Great American Prose Poems, edited by David Lehman. I Feel a Little Jumpy Around You, edited by Naomi Shihab Nye and Paul B. Janeczko. Letters to America: contemporary American Poetry on race, edited by Jim Daniels. Lights, Camera, Movies, an anthology of poetry about the movies, edited by Jason Shinder The Longman Anthology of Poetry, edited by Lynne McMahon and Averill Curdy, 2006. The Making of a Poem: a Norton Anthology of Poetic Forms, edited by Mark Strand and Eavan Boland, W. W. Norton & Company, 2000.

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Merrimack: A Poetry Anthology, edited by Kathleen Aponick, Jane Brox, and Paul Marion. Models of the Universe, edited by Stuart Friebert and David Young. New Sister Voices: Poetry by American Women of African Descent, edited by Allison Joseph, Southern Illinois University Press, 2002. New Voices, the Academy of American Poets College Prize anthology. No More Masks, an anthology of twentieth-century American female poets, edited by Florence Howe. The Norton Anthology of Modern and Contemporary Poetry, edited by Jahan Ramazani, Richard Ellman, and Robert O’Clair. Not for Mothers Only, an anthology of motherhood, edited by Catherine Wagner and Rebecca Wolff. 100 Great Poems by Woman, edited by Carolyn Kizer. One Word: Contemporary Writers on the Words They Love or Loathe, edited by Molly McQuade, Sarabande Books, 2010. Poems • Poets • Poetry, edited by Helen Vendler. Poetry Daily, edited by Don Selby, Chryss Yost, and Diane Boller, 2003. Poem flow, “This Did Not Happen” 3 August 2012 for Academy of American Poets, Daily poem The Poets’ Grimm. edited by Jeanne Marie Beaumont and Claudia Carlson. Sisterfire, an anthology of contemporary African-American female writers, edited by Charlotte Watson Sherman. To Read a Poem, an anthology of American Poetry edited by Donald Hall. Real Things, an anthology of Popular Culture in American Poetry, edited by Jim Elledge and Susan Swartwout. Temba Tupu: (Walking Naked) The Africana Woman’s Poetic Self Image, edited by Nagueyalti Warren.

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Textsound 15 (http://textsound.org/index.php?ISSUE=15), sonic poams edited by Laura Wetherington, “Heat Dozens: ELEMENTS OF DAMAGE (Thylias Moss: vocals, text writing, sonic arranging; and Ansted Moss: composing and performance of keyboards), LFMK (“Looking for my killer” - Thylias Moss: vocals, text writing, arranging), “Limited Fork” (poametry is a dynamic system” - Thylias Moss: vocals, lyric writing, arranging; Ansted Moss: composing and performance of keyboards, all other instruments other than vocals --all done by Thylias Moss); “sixpacked fork talking”: Thylias Moss: vocals, text writing, arranging; al music composed and performed by Ansted Moss in collaboration) 250 Poems: A Portable anthology, edited by Peter Schakel and Jack Ridl. The United States of Poetry, edited by Joshua Blum, Bob Holman, and Mark Pellington. The Vintage Book of African American Poetry, edited by Michael S. Harper and Anthony Walton. Visiting Frost: Poems Inspired by the Life and Work of Robert Frost, edited by Thom Tammaro and Sheila Coghill. Where the Children Play, companion to the PBS series of the same title, edited by Elizabeth Goodenough. Who’s Writing This? edited by Daniel Halpern. CDs: “My Master Is a Collector,” poems from Slave Moth, vocals written and performed by Thylias Moss, music composed and performed by Ansted Moss, Limited Fork Productions, 2003. “Poems Out Loud from Last Chance for the Tarzan Holler,” vocals written and performed by Thylias Moss, music composed and performed by Ansted Moss, Limited Fork Productions, 2003. “Lobster Boil,” vocals written (tracks 1, 2, 8) and performed by (tracks 1, 2, 4, 6, 8) by Thylias Moss, music composed and performed (all tracks) by Ansted Moss, Left Lobe Productions, 2002. “I Want to Be Music,” vocals written and performed by Thylias Moss, music composed and performed by Ansted Moss, Left Lobe Productions, 2002.

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Readings, Performances, Screenings, and Lectures: 2015 Lawrence Technological University, Digital Humanities Conference 2015, Deroit Lit Walk, N'Namdi's in Detroit, MI, hosted by ML Liebler 2015, Hannan Cafe, Deroi, MI, performance with Bob Holman 2015 AWP Minneapolis, MN, Cave Canem: "Three Decades, Four Poets: Cave Canem Presents Whiting Award Winners" 2010 A Celebration of Mid-West Poetry, Rain Taxi, Poetry Society of America, Minneapolis, Minnesota. 2010 APPetite, the iPhone as a mobile studio, Tuesday Lectures, Slusser Gallery, University of Michigan, Ann Arbor. 2009 Limited Fork Theory as a Thinking Playground (Limited Fork is a bifurcating tool with which to attempt access of anything through the study of interactions based on an assumption of the interconnectedness of everything, so possible paths need only be activated, not established. Spaces between tines are holes in the fork that stuff falls through, reminding us that we work with partialities of partialities, providing alternatives to notions of accurate knowing and encouraging further exploration of interactions toward forming a richer mesh of understandings), paper presented at the AIS (Association for Integrated Studies) Conference, University of Alabama, Tuscaloosa. 2009 “The Space of Language,” Arts and Bodies, Arts on Earth, University of Michigan, Ann Arbor. 2009 Video Poam and Text Poetry video conference for a Russian Literary Group, sponsored by the US State Department. 2009 Panelist in “What Is Workshop For?” Department of English, University of Michigan, Ann Arbor. 2008 “Forked Thinking: Tines as Adaptable Systems of Expression for Teaching and Learning (Toward a Generalized Theory of Making),” paper presented at Designs on e-Learning, Penn State University, Pennsylvania. 2008 Screening of “Bubbling” in the Zebra International Poetry Film Festival, Berlin, Germany.

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2008 Hip Hop Literary Text performance with DJ Nick Speed, Wayne State University, Detroit, Michigan. 2008 Hip Hop Literary Text performance with DJ Nick Speed, Detroit Lit Fest. 2007 “LFMK” in “rEVOLUTION,” Duderstadt Center Galley, Ann Arbor, Michigan. 2007 Screening of “Verde: the Greening of Electrons” and “My Galactic Octopus in the VVVF: Venturous Vanguard Video Festival, California and Altered Esthetics in Minneapolis, Minnesota. 2007 Drexel University, Philadelphia Pennsylvania. 2007 “Exploding Angels” in “Arts & War,” Mendelssohn Theater, Ann Arbor, Michigan. 2007 “The Science of Transforming the Academy with a Limited Fork,” Keynote for MUSES (Movement of Underrepresented Sisters in Science and Engineering) annual gala, University of Michigan, Ann Arbor. 2006 CREW (Collaboratory for Research on electronic Work) Seminar: “Forks, Ladders, and the Culture of Makers,” University of Michigan, Ann Arbor. 2006 “Pleasurable Complexity,” University of Michigan, Ann Arbor. 2006 Cass Technical High School, Detroit Michigan. 2006 Mumford High School, Detroit Michigan. 2006 “The Joy of the Simple Machine: The Limited Fork as Perpetual, as Unstoppable, as Inevitable, as Fallible Teaching & Learning Device,” Keynote for “Enriching Scholarship,” University of Michigan, Ann Arbor. 2006 “Boundary Conditions: an exercise in exploring the rich activity that tends to occur at boundaries (including the boundaries between disciplines) through the use of rich media and technology, and Tinkertoys,” workshop for “Enriching Scholarship,” University of Michigan. Ann Arbor. 2006 “On the Same Poem: Forsythe County, North Carolina reads ‘Project Genealogy,” Winston-Salem North Carolina. 2006 Screening of “ENG 500” and “Project Genealogy,” Grand Rapids Public Library, Grand Rapids, Michigan. 2006 Michigan Honors Composition Concert, Grand Rapids, Michigan.

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2006 Debut screening of “Place Value,” MOAD: Museum of the African American Diaspora, sponsored by SFNoir, San Francisco, California 2005 “Limited Fork Poetics: a new communication tool based on complex adaptive systems,” National Cancer Institute Conference, Duderstadt Center, University of Michigan. 2005 Wisconsin Book Festival 2005 “Diversity & Displacement,” Complexity of Diversity Colloquium, Life Sciences, University of Michigan. 2005 “Project Genealogy,” Diversity Symposium, Rackham, University of Michigan. 2005 Hamtramck District Library, Hamtramck, MI, screening of “Delicacies,” a film by Thylias Moss 2005 Saline District Library, debut of “Delicacies,” a film by Thylias Moss 2005 “My Master Is a Collector,” solo dance piece based on Slave Moth by Thylias Moss, performed by Robin Wilson for Urban Bush Women, New York NY 2005 Museum of African American History, Detroit, MI, performance of “Slave Moth,” a dance piece based on Slave Moth by Thylias Moss, Robin Wilson: choreographer. Other U of M faculty collaborators: Cynthia Pachikara, Marianetta Porter, Sherri Smith, Terri Sarris, Stephen Rush, Michael Gould. U of M featured Student Dancers: Talia Byron, Leslie DeShazor, He Jin Jang, Judy Milner, Amanda Peura and Heather Vaughan-Southard. 2005 “Write Word/Write Now” workshop of eight Detroit area poets in transition spoken word poetry to printed page, Detroit, MI 2005 Michigan Honors Composition Concert, Ann Arbor, MI 2004 Debut of “Slave Moth,” a dance piece based on Slave Moth by Thylias Moss, DanceWorks Collective, Ann Arbor, MI; Robin Wilson: Choreographer, Other U of M faculty collaborators: Cynthia Pachikara, Marianetta Porter, Sherri Smith, Terri Sarris, Stephen Rush, Michael Gould. U of M featured Student Dancers: Talia Byron, Leslie DeShazor, He Jin Jang, Judy Milner, Amanda Peura and Heather Vaughan-Southard. 2004 Presented “The Limited Fork,” a lecture and a movie, at The Institute for the Humanities, as part of the “Artists-at-Work” series, University of Michigan, Ann Arbor, MI

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2004 Ann Arbor Book Fair panelist, keynote speaker, and book presenter, Ann Arbor, MI 2004 Poetry Day Keynote Speaker, Concordia College, Ann Arbor, MI 2004 Judge of the Ann Arbor District Library’s “It’s All Write” short story contest 2004 Panelist in “Michigan in the Written Word,” part of the Ann Arbor Book Fair, Rackham 2004 Panelist in the Institute for the Humanities’ “Book that Changed My Life” Discussion 2004 Kalamazoo College. Kalamazoo, MI 2004 Final Judge of the Lena-Miles Wever Todd Poetry Manuscript Contest 2004 Chicago Tribune Book Fair 2004 Shaman Drum Bookstore, Ann Arbor, MI 2004 Greenhills school, Ann Arbor, MI 2004 Michigan Honors Composition Concert, Ann Arbor, MI 2004 Keynote Speaker for The University of Michigan Business & Finance 16th Annual MLK Convocation, Ann Arbor, MI 2004 Participant in “Highlife for Lemuel,” a symposium to celebrate the life and works of Lemuel Johnson, University of Michigan, Ann Arbor, MI 2004 Career Day Presenter at Community High School, Ann Arbor, MI 2003 Keynote Speaker for “Local Artists Under Ten,” a tutoring program run by student members of “Teach for America,” Ann Arbor, MI 2003 Speaker in “Day Without Art,” U of M Museum of Art, Ann Arbor, MI 2003 Saginaw Valley Community College, Kalamazoo, MI 2003 Brighton District Library, Brighton, MI 2003 Greenhills School, Ann Arbor, MI 2003 Washtenaw Intermediate School District, Ann Arbor

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2002 University of Chicago 2002 Birmingham Unitarian Church, Birmingham, MI 2002 Club Celebrity in Detroit 2002 Community High School, Ann Arbor 2001 Emerson School, Ann Arbor, Michigan 2001 Community High School, Ann Arbor, Michigan 2001 The Neutral Zone, Ann Arbor, Michigan 2001 School for the Performing Arts, Ann Arbor 2000 The Library of Congress, Washington D. C. 2000 Macalester College, St. Paul, Minnesota 2000 Speaker for the Association of University Women Book Club 2000 Oakland University Writers’ Conference 1999 University of New Hampshire, Durham, New Hampshire 1999 Portage District Library, Kalamazoo, Michigan 1999 National Book Critics Circle, New York, New York 1999 Apple Book Center, Detroit, Michigan 1999 Multicultural Food Fest, University of Michigan, Ann Arbor 1998 Panelist in the Poetry Society of America’s “What’s American about American Poetry” Symposium, New York, New York 1998 Denison University, Granville, Ohio 1998 Washington University, St. Louis, Missouri 1998 Great Lakes Literary Alliance, Ann Arbor, Michigan 1998 University of Michigan, Ann Arbor 1998 Borders Bookstore, Beachwood, Ohio

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1998 Borders Bookstore, Ann Arbor, Michigan 1998 Barnes and Noble Bookstore, Atlanta, Georgia 1998 Barnes and Noble Bookstore, New York 1998 Elliot Bay Book Company, Seattle, Washington 1998 Apple Book Center, Detroit, Michigan 1998 Agnes Scott Writers’ Festival, Agnes Scott College 1998 Premiere of “Poetry Heaven,” a PBS film from the Geraldine R. Dodge Foundation, Newark, New Jersey 1998 Shaman Drum Bookshop, Ann Arbor, Michigan 1998 Guild House Writers’ Series, Ann Arbor, Michigan 1998 Keynote Speaker for the Arbor Chapter of the Links 1997 Brockport Writers Forum, State University of New York at Brockport 1997 Panelist in the Center for African American Studies Symposium: Performing Blackness, University of Michigan, Ann Arbor 1997 Keynote Speaker for the Rotary Club luncheon 1996 Geraldine R. Dodge Poetry Festival, Village of Waterloo, New Jersey 1996 Hope College, Holland Michigan 1996 Eastern Michigan University, Ypsilanti 1996 University of Michigan-Flint 1996 Keynote Speaker for the Ann Arbor chapter of the Links 1995 State University of Illinois-Bloomington-Normal 1995 Princeton University, Princeton, New Jersey 1995 Oberlin College, Oberlin, Ohio 1994 Yale University, New Haven, Connecticut 1994 Syracuse University, Syracuse, New York

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1994 Interlochen Academy, Interlochen, Michigan 1994 Delta State College, Saginaw, Michigan 1994 Saginaw Valley State College, University Center, Michigan 1994 Concordia College, Ann Arbor, Michigan 1994 Wayne State University, Detroit, Michigan 1994 Georgia Poetry Circuit: University of Georgia at Athens, University of Georgia at Atlanta, Macon College, Young Harris College, and Savannah State College 1994 Symposium on African-American Literature, Washington University, St. Louis, Missouri 1994 Nineteenth-Century Poetry of America Symposium and Celebration, 92nd St. Y, New York, New York 1993 Washington University, St. Louis, Missouri 1993 California Poetry Circuit: University of Southern California, San Diego; San Diego Museum of Contemporary Art, University of California Los Angeles, Cal Arts, The Randall Gallery of Fine Art, La Jolla; University of California, Berkeley 1993 Oberlin College, Oberlin, Ohio 1993 Keynote Speaker for Michigan Educational Association 1993 Keynote Speaker for the first University of Michigan Women of Color Symposium 1993 Maxie Boys Training Center, Brighton, Michigan 1993 University of Michigan, Ann Arbor 1992 Wellesley College, Wellesley, Massachusetts 1992 Keynote Speaker for the Twelfth Annual Conference of Teachers and School Leaders 1992 Keynote Speaker for the Massachusetts Chapter of the National Library Association 1992 Black Roots Festival, New York, New York

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1992 Brandeis University, Waltham, Massachusetts 1992 Loyola University, Baltimore, Maryland 1992 University of Massachusetts, Boston 1992 The 92nd Street Y, New York, New York 1992 DIA Art Foundation, New York, New York 1991 The Library of Congress, Washington, D. C. 1991 Seton Hall University, South Orange, New Jersey 1991 Cleveland State University, Cleveland, Ohio 1991 Eastern Carolina University, Greenville, North Carolina 1991 Featured lecturer at the University of Lowell’s Writer’s Conference 1991 University of New Hampshire, Durham 1990 Harvard University Law School, Cambridge, Massachusetts 1990 University of Virginia, Charlottesville 1990 The Grolier, Cambridge, Massachusetts 1990 MIT, Cambridge, Massachusetts 1990 Colgate University, Hamilton, New York 1990 Claremont College, Claremont, California for the Seed Convention for Diversity in the Humanities Curriculum, sponsored by Wellesley College 1990 The Dark Room Collective, Cambridge, Massachusetts 1990 University of Lowell, Lowell, Massachusetts 1990 Emerson College, Boston, Massachusetts 1990 Simon’s Rock College, Great Barrington, Massachusetts 1990 Free Hand, Provincetown, Massachusetts