Her work has appeared in Field, Georgia Review, Gettysburg Review, Poetry, The Nation, Mississippi Review, Threepenny Review, and Yale Review.
- Fine Arts Work Center Fellowship
- Ingram Merrill Foundation Fellowship
- National Endowment for the Arts Fellowship
- 1982 Discovery / The Nation Award
- 1983 National Poetry Series, for Solar Wind
- Richard Snyder Memorial Prize, for Little Apocalypse
- "One Man Watches a Horse Race"; "Coelacanth", Electica
- "The Women on the Ward", Electica
- "THE NEWS FROM MARS", The Blue Moon Review
- "News and Sundries", Blue Penny Quarterly, Fall 1995
- "Seven", fieralingue
- "And the Two Give Birth to the Myriad of Things", fieralingue
- "Mercy 1"; "Mir, the World, or is it Peace", Hamilton Stone Review
- "Eve, Before"; "Drosophila"; "The Two of Cups"; "Triptych", Kimera: A Journal of Fine Writing
- "On a Line by Su Tung-p'o"; "Another Line from Su Tung-p'o"; "A Contract"; "Aubade: How Truth Will Out", Mississippi Review
- "Liberty", Salt River Review
- "Kali Yuga", Tattoo Highway
- "Silver"; "Aubade, The Truth Will Out"; "One Man Watches a Racehouse"; "Seven"; "How Nothing Happens"; "The Telling", Pares, University of Chile
- In the Solar Wind. Doubleday Books. October 1984. ISBN 978-0-385-19384-9.
- Little Apocalypse. Ashland Poetry Press. 1997. ISBN 978-0-912592-40-4.
- Lorrie Goldensohn, ed. (2006). "Mondrian's Forest". American War Poetry. Columbia University Press. ISBN 978-0-231-13310-4.
- John Matthias and William O’Rourke, ed. (January 15, 2009). Notre Dame Review: The First Ten Years. University of Notre Dame Press. ISBN 978-0-268-03512-9.
- Sam Hamill, Sally Anderson, ed. (2003). Poets against the War. Thunder's Mouth Press. ISBN 978-1-56025-539-0.
- W. Scott Olsen, Scott Cairns, ed. (September 1996). The Sacred Place: Witnessing the Holy in the Physical World. University of Utah Press. ISBN 978-0-87480-523-9.
...she fills her book with the intensity of a religious quest. Little Apocalypse is full of daring, thick with irony, paradox, and vision; it looks for the big questions and the big answers in small things.
Here in the flesh, in the instruments too, is the other side of Yeats’s polarity, the dialogue with the self. The poet’s role here is twofold: to let the world move her; then to “spark, filter, make geometry.”