Dissertation
The Aesthetic Use of Syntax: Studies on the Syntax of the Poetry of e.e.Cummings. University of Illinois, Department of Linguistics, 1980.
Publications
Books
Rhythmic Phrasing in English Verse. London: Longman, 1992.
Articles in Books
“Literary Stylistics.” Oxford International Encyclopedia of Linguistics.
Ed. William Bright. 4 vols. Oxford: Oxford U P, 1992, 81-86
“The Auditory Imagination and the Music of Poetry.” Literary Stylistic Studies of Modern Poetry. Ed. Peter Verdonk. London: Routledge, 1993, 68-86.
“Stylistics.” Oxford International Encyclopedia of Linguistics. Ed. William J.
Frawley. 2nd ed. 4 vols. Oxford: Oxford U P, 2003, 466-72
“The Language of Poetry.” Oxford International Encyclopedia of Linguistics. Ed. William J. Frawley. 2nd ed. 4 vols. Oxford: Oxford U P, 2003, 493-96
Articles
“The Inclusion Constraint: Description and Explanation.” Studies in the Linguistic Sciences 9.1 (1979): 91-104.
“E.E. Cummings: A Study of the Poetic Use of Deviant Morphology.” Poetics Today 1.1-2 (1979): 213-44.
“The Exceptions to Passive in English: A Pragmatic Hypothesis.” Studies in the Linguistic Sciences 9.2 (1979): 39-55.
‘he danced his did’: An Analysis.” Journal of Linguistics 16 (1980): 245-62.
“Poetic Syntax and Aesthetic Form.” Style 14 (1981): 182-215.
“E.E. Cummings: A Case Study of Iconic Syntax.” Language and Style 14 (1981): 182-215
“Using Literature to Teach Language.” Wisconsin English Journal 17.2 (1985): 13-20
“Poetry, Grammar, and Epistemology: The Order of Prenominal Modifiers in the Poetry of e.e. Cummings.” Language and Style 18 (1985): 64-91
“Rhythm: A Multilevel Analysis.” Style 19 (1985): 242-57.
“Traditional Scansion: Myths and Muddles.” Journal of Literary Semantics 15 (1986): 171-208.
“Visual Form in E.E. Cummings’ No Thanks.” Word and Image 2 (1986): 171-208.
“A Definition of Rhythm.” Eidos 3.2 (1986): 7-10
“Aspects of Verse Study: Linguistic Prosody, Versification, Rhythm, Verse Experience.” Style 4.4 (1993): 521-29.
“Rhythmic Cognition and Linguistic Rhythm.” Journal of Literary Semantics 23.3 (1994): 220-32.
“Rhythm and Verse Study.” Language and Literature 3.2 (1994): 105-24
“The Concept of Rhythm: An Exercise in Cognition.” Language and Style (forthcoming)
“Poetry, Language, and Literary Study: The Unfinished Tasks of Stylistics.” Language and Literature 21 (1996): 95-112
“Linguistics, Stylistics, and Poetics.” Language and Literature 22 (1997): 1-43
“A Disciplinary Map for Verse Study.” Versification 1 (1997)
“Toward a Temporal Theory of Language.” Journal of English Linguistics 25 (1997): 283-303.
“Temporality and Poetic Form.” Journal of Literary Semantics 31 (2002): 37-59.
“Telling Time: Toward a Temporal Poetics.” Odense American Studies International Series. Working Paper No. 48. February, 2001.
“Jakobson Revisited: Poetics, Subjectivity, and Temporality.” Journal of English Linguistics 28 (2000): 354-392.
“Schizophrenic Poetics: A Proposed Cure.” Journal of English Linguistics 30 (2002): 91-110.
“Temporal Poetics: Rhythmic Process as Truth.” Antioch Review 62 (2004), 113-21.
“Cummings and Temporality.” Spring: The Journal of the E. E. Cummings Society New Series No. 16 (Fall 2007), 20-39.’
“Teaching E.E. Cummings.” Spring: The Journal of the E.E. Cummings Society New Series No. 17 (Fall 2010), 84-96.
“Meter and Metrical Reading in Temporal Poetics.” Thinking Verse 2 (2012), 112-237.
“Analysis of William Carlos Williams, ‘To a Solitary Disciple.”’ Thinking Verse 3 (2013), 51-107.
“Rhythm, Temporality, and ‘Inner Form‘,” Style 49.1 (2015), 78-109.
“A Reading in Temporal Poetics: Emily Dickinson’s ‘I taste a liquor never brewed.'” Style 49.3 (2015), 354-362.
“A Reading in Temporal Poetics: Elizabeth Bishop’s ‘The Map.'” Style 50.1 (2016), 37-64.
“Readings in Temporal Poetics: Four Poems by William Carlos Williams.” Style 51.2 (2017), forthcoming.
“Genres of Psychological Conflict, Limitation, and Loss in the Poetry of E.E. Cummings.” Spring: The Journal of the E.E. Cummings Society New Series No. 22-24 (Fall 2017), forthcoming.
“Pararhyme in E.E. Cummmings’ “Sonnet—Realities.” Spring: The Journal of the E.E. Cummings Society New Series No. 23-24 (Fall 2017), forthcoming.
“Readings in Temporal Poetics: Four Poems by Robert Frost.” Style 52.2 (2017), forthcoming.
“Portrait Textures in E.E. Cummings’ Tulips and Chimneys.” Spring: The Journal of the E.E. Cummings Society New Series No. 25 (Fall 2018), forthcoming.
“A Reading in Temporal Poetics: E.E. Cummings‘ “maggie and milly and molly and may.” Spring: The Journal of the E.E. Cummings Society New Series No. 25 (Fall 2018), forthcoming.
“Tradition and Innovation in E.E. Cummings’ “Picasso.” Spring: The Journal of the E.E. Cummings Society New Series No. 26 (Fall 2019), forthcoming.
“A Reading in Temporal Poetics: E.E. Cummings’ “Buffalo Bill.” Spring: The Journal of the E.E. Cummings Society New Series No. 26 (Fall 2019), forthcoming.
Review Articles
“Metaphor Without Analogy.” Review of S.R. Levin. The Semantics of Metaphor. Poetics Today 4.2 (1983): 323-41.
Review of Stephen Cushman, William Carlos Williams and the Meanings of Measure. William Carlos Williams Review 12.2 (1986): 34-52.
“Helen Vendler and the Music of Poetry.” Review of Helen Vendler, Poems, Poetics, Poetry: An Introduction and Anthology. Versification 1 (1997)
“Rethinking Holder.” Review of Alan Holder, Rethinking Meter. Language & Literature 7 (1998): 51-63.
Reviews
Review of Mark Johnson, ed. Philosophical Perspectives on Metaphor. American Speech 58 (1983): 51-63.
Review of Geoffrey Leech and Michael Short. Style in Fiction. American Speech 59 (1984): 362-64.
Review of Michael Simmons and Robert Cummings. The Language of Literature. Style 18 (1984): 221-25
Review of Derek Attridge, The Rhythms of English Poetry. American Speech 60 (1985)
Review of Sidney Greenbaum, ed. The English Language Today. World Englishes 4 (1985): 267-71
Review of Timothy Austin. Language Crafted: A Linguistic Theory of Poetic Syntax. Journal of Literary Semantics 15 (1986): 70-74
Review of C.J. Brumfit, ed., Teaching Literature Overseas: Language-Based Approaches. World Englishes 4 (1986): 359-64.
Review of Philip Stambovsky, The Depictive Image. American Speech 65.3 (1990): 258-60
Review of Charles Meyer. Apposition in Contemporary English. World Englishes 13.1 (1993): 93-97.
Review of Frederick J. Newmeyer. Language Form and Language Function. Journal of English Linguistics 29 (2001): 72-78.
Review of Meredith Martin, The Rise and Fall of Meter: Poetry and English National Culture, 1860-1930. Review of English Studies 64:265 (2013), 542-545.
Comments
“A Comment on Louis G. Ceci’s ‘The Case for Syntactic Imagery’.” CollegeEnglish 47 (1985): 157-60
“A Comment on Patrick Hartwell’s ‘Grammar, Grammars, and the Teaching of Grammar’.” College English 47 (1985): 643-45
Responses
“Response to Alan Holder’s ‘Richard Cureton’s ‘Definition of Rhythm’: Some Queries, Quibbles, and Caveats‘.” Eidos 4 (1987): 10, 13-17.
“A Reply to Robert Einarsson: ‘Richard Cureton, the Tradition, and the Cause of Prosodic Rhythm‘” Style 27.1 (1993): 135-38.
“A Response to Tom Barney.” Language and Literature 4.1 (1995): 55-59.
“A Response to Derek Attridge: ‘Beyond Metrics: Richard Cureton’s Rhythmic Phrasing in English Verse‘.” Poetics Today (1996): 29-50.
“Questions and Consequences.” CEA Forum (Summer 1996): 9-10
Notes
“Editor’s Note.” Journal of English Linguistics 30 (2002): 3-4
Poetry
Two Haikus: “Blades on the water” “Sleek lines slip along.” AARC: The Catch, October 16, 2016.
Haikus: Fall 2016: “Woodpecker’s workin’,” “Leaves, yellow and gold,” “Torn trees, brown bushes,” “Sleek lines slip along,” “Leaves fall, fluttering,” “Helicopter hats!” “Glinting light, bright green,” “In flight, they’re smoooooooth, as” “Stacked shelves, in sequence,” “Soaring seraph, saint:” “Fifty-foot hickory!” “Clack, click! Clack, clack, click!” “Look out on the lake.” “Cool, quiet evening.” “What should I do now?” “Buddha’s everywhere.” “Red berries, brown branch” “Fire. Smoke. Burning leaves.” “Puppy plays, splashing.” “White lights, blazing.” “Hot black smoke. Red flame.” The Peninsula Pulse (December 9-16, 2016, v22i50, section 4, p. 4).
Haikus: Door County, Summer 2016: “White birch-trees, stone cliffs;” “Blackberries, cherries;” “Queen-Anne’s Lace, sweet-pea:” “So long summer sun!” “Wild west winds!” “White caps!” “Waves on a rock shelf;” “Six seagulls, circling;” “Savory servings;” “Brisk winds and bright stars:”, “Quinn in his cubby”, “Fogged windows!”, White sky!”, “Fish have fins; birds, wings:” “Sunrise in the East.” “Coals in the fireplace.” “Packerland, pulled pork;” “Winding roads run down,” “Mid September storm.” “Bright lights to the north.” “Carrot cake, cold beer;” “Blades on the water.”
“Three hungry thrushes:” “Leaves are yellowing.” “Roots cut into rock.” “Glaciers scooped its bays.” “A white butterfly” “And Aussies outed!” “And Mistress Mary”
“Steep stairs; white stone cliffs;” “West winds whistling,” “Washington Island;” “Death’s Door’s a devil!” “Light the candles! Look!” “Ephraim, Fish Creek,” “The Island Clipper” “Cureton Cliffs. It’s fall!” “Europe Lake at dawn,” “Wood-box peg’s still there!” “South winds gust off shore.” “Teske, Weborg, Voight.” “Faces frame the fire.” “Ancient estuary:” “Newport’s sands are springs.” “Six stone steps–square, white.” “Two sleek single sculls.” “Rows of red, blue sky.” “Potawatomi.” “Yellow wood, blue bay.” “Daybed deities:” “Leafy lattices,” “Polka-dot curtains.” Spring: Journal of the E.E. Cummings Society (to appear).
