- Parenthetical numbers with # sign refer to issue numbers of Temblor.
- “Two Stein Talks” is reprinted, in revised form with a headnote and the addi-
tion of footnotes for the many references, in Lyn Hejinian, Language of Inquiry,
83–130. - Farrah Grif¤n, Michael Magee, and Kirsten Gallagher, “A Conversation with
Harr yette Mullen,” Combo #1 (summer 1998), ed. Michael Magee, as reprinted on
Harryette Mullen Web site, http://epc.buffalo.edu/authors/mullen, 1–2. - Barbara Henning, “An Interview with Harryette Mullen,” Poet r y Project News-
letter (1999): 2. See the Poetry Project Web site, http://w w w.poetryproject.com/
newsletter/mullen.html. - Harryette Mullen, Trimmings (New York: Tender Buttons, 1994), 9.
- Unpublished lecture delivered at Intersection for the Arts, San Francisco, 24
May 1993. I owe my knowledge of this lecture to Aldon Lynn Nielsen’s important
study Black Chant: Languages of African-American Postmodernism (New York: Cam-
bridge University Press, 1997), 35–37. - Kate Pearcy, “A Poetics of Opposition: Race and the Avant-Garde,” unpub-
lished essay read at the “ ‘Poetry and the Public Sphere’ Conference on Contemporary
Poetry,” 24–27 April 1997. - Harryette Mullen, Muse & Drudge (Philadelphia: Singing Horse Press, 1995), 1.
- In Everybody’s Autonomy: Connective Reading and Collective Identity (Tusca-
loosa: University of Alabama Press, 2001), Juliana Spahr points out that Sappho’s Lyre
(Berkeley: University of California Press, 1991) is the title of Diane J. Rayor’s trans-
lations of archaic lyric and women poets of Ancient Greece, and adds, “Only here
Sappho is marked as the African-American Sapphire. Resonating here is the ‘locus of
confounded identities’ that Hortense Spillers notes at the beginning of ‘Mama’s Baby,
Papa’s Maybe: An American Grammar Book’: ‘Let’s face it. I am a marked woman,
but everybody knows my name. ‘Peaches’ and ‘Brown Sugar,’ ‘Sapphire’ and ‘Earth
Mother,’ ” 114. - Spahr (112–13) cites the Steve Miller Band’s “The Joker” as a source of this
image: “No don’t worry mama. / Cause I’m right here at home. / You’re the cutest
thing / That I ever did see / Really love your peaches / Wanna shake your tree.” And
there are related songs by Blind Lemon Jefferson and Ma Rainey that stand behind
the peach image as well as the “juicy fruit” that follows. - Ann Lauterbach, “Pragmatic Examples: the Nonce,” Moving Borders: Three
Decades of Innovative Writing by Women, ed. Mary Margaret Sloan (Jersey City, NJ:
Talisman House, 1998). - Beverly Dahlen, “In Re ‘Person,’ ” Moving Borders, 664.
- As cited by Mullen, Poetry Project Web site.
- UbuWeb is located at http://w w w.ubu.com.
- The Electronic Poetry Center Web site is located at http://epc.buffalo.edu.
- Marjorie Perloff, “Screening the Page/Paging the Screen: Digital Poetics and
the Differential Text,” forthcoming in Thomas Swiss and Adelaide Morris, eds., The
Language of New Media (Cambridge, MA: MIT Press, 2004).
Notes to Pages 163–174 291