For the latest on what I’ve published to celebrate the work of other writers, click over to Nonfiction & Reviews.


  • Poems from 10048, my manuscript of poems about the World Trade Center, have been appearing. “Displacement“was published in Between the Lines. And “Project Safe Flight” is in The Whirlwind Review. The print and digital journal, Brain of Forgetting, out of Cork, Ireland, published the frontpiece to the whole collection as “Going Back, Going Under.” (It’s on page 27.)
  • You can read my poem “Mourning (with Walt Whitman)” in Loud Zoo (it starts on page 52) and you can hear me read it on their SoundCloud version. Musician Bruce Campbell collaborated by creating a “soundtrack” for the piece. Originally written after the Pulse nightclub tragedy, I revised it to be more inclusive and to honor the humane efforts of so many of our neighbors after such events.
  • Two poems appear in the Euonia Review (the title of which honors the shortest word with all the vowels in it. They present “Through the Reeds” and “Self-Portrait, as a Watercourse.”
  • At the base of Dante’s hell reside three giants, Anteus, Ephialtes, and Nimrod, which Dorothy L. Sayers says could be understood as the doom of triviality, of violence & senseless rage, and of nonsense & arrogant stupidity. This feels remarkably contemporary.  These three poems, published in Gravel, seemed to write themselves, but the hard part was maintaining my complicity.
  • Read-view four of my emblems over at Jazz Cigarette or four others at Otoliths. You’ll have to scroll down to find “Slipknot,” “Fever,” and “Word-locked,” but they’re in Issue 4 of Shuf Poetry.
  • When my spouse and I returned to Japan after a decade, I kept a journal that evolved into a series of haibun, the Japanese form that combines prose with haiku. Contemporary Haibun Online published “Matsuyama,” about the city that the great haiku poet, Shiki, was from. The final section, “When I Say ‘Hiroshima.'” was published in Outside/In.
  • Extract(s) presents selections of books to-be-published, and though my mss still hasn’t seen the light of day, “The Poet’s Map (II)” has.
  • The online journal Inner Arts presents two of my tanka
  • The poem “Sapphires,” evoking the morning ritual of keeping a journal, is available at The Blue Hour.


  • I have also been writing short essays in praise of the everyday and unlikely. Here’s one about pyroplasticity in Embodied Effigies, one in praise of not finishing (in The Rain, Party, & Disaster Society–you’ll need to open the virtual magazine and go to page 12), and another celebrating falling down which appeared in Foliate Oak
  • My creative nonfiction piece (what used to be called an essay) “The Memorial Chain” about my family’s attempt to make a chain of stories to remember my father appeared in  Jenny.
    The student-editors also conducted an interview with me, which they posted here. It gave me a great chance to reflect on my process, development, and core commitments, as a writer.
  • My exploration of poetry’s heartbeats, called “Laying It on the Wire: Delighting in Poetry’s Form and Rhythm” contains my confession that I can’t really hear meter and why (and what I can, of course). It appeared in TAB: The Journal of Poetry & Poetics.
  • If you want to read more about our volunteer work at the World Friendship Center in Hiroshima, search for my essay “At the Crossroads: In Hiroshima at the Fiftieth Anniversary” which first appeared in Peace Review and was reprinted in the anthology Learning to Glow: A Nuclear Reader, which is available as a Google book.

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