Seattle-based Writer, Author, Poet, Writing Teacher

Priscilla Long


Poet, Writer, Teacher, Editor



MFA, Creative Writing, University of Washington, 1990

Founding and Consulting Editor,, the online encyclopedia

of Washington state history




2012 Hedgebrook writer in residence

2009 Jack Straw Productions Writers’ Program fellow

2006 National Magazine Award (feature writing)

2003 The Richard Hugo House Founders’ Award (a teaching award)

2002 Seattle Arts Commission (creative nonfiction)






The Writer’s Portable Mentor: A Guide to Art, Craft, and the Writing Life (Seattle: Wallingford Press, 2010).


Where the Sun Never Shines: A History of America’s Bloody Coal Industry (New York: Paragon House Publishers, 1989).


Weekly column, Science Frictions, appears every Wednesday (started September 11, 2011) on The American Scholar website. To see the columns go to:


Essays and Creative Nonfictions

“Nineteen Sixty-Eight,” The Southern Review (forthcoming 2012)


“Studio,” Under the Sun (forthcoming 2012)

“Autobiography: An A to Z,” Fourth Genre (forthcoming 2012)


“Readers Writing, Writers Reading,” Line Zero No. 6 (March 2012), 7–8.


“Interview with a Neandertal,” The American Scholar (Spring 2011), 47–50.

“Anamorphosis,” Tampa Review Vol. 41 (2011), 59–60.


“Balancing Act,” Under the Sun Vol. 15, No 1 (Summer 2010), 149–153.

This work was listed as a “Notable Essay of 2010 in The Best American Essays 2011

            ed. by Edwidge Dantitcat.


“Going to Portland,” Raven Chronicles Vol. 15, No. 1 (Autumn 2010), 40–43.
This work was nominated for a Pushcart.


“My Brain on My Mind,” The American Scholar Vol. 79, Vol. 1 (Winter 2010).

This work was listed as one of the “Other Notable Science and Nature Writing of

            2010 in The Best American Science and Nature Writing 2011 ed. by Mary Roach.


“Thirteen Ways of Looking at a Fur-Covered Teacup,” Web Conjunctions                           (, June 24, 2009.


“Memento Metro,” Alaska Quarterly Review Vol. 26, No. 3 and 4 (Fall and Winter 2009).

This work was listed as one of the “Notable Essays of 2010” in The Best American Essays 2010 ed. by Christopher Hitchens.

“Rhapsody in Red,” Jack Straw Writer’s Anthology Vol. 13 (Spring 2009).

“Nooks, Caverns, and Corners,” CT (Connecticut) Review Vol. 31, No. 1 (Spring 2009), 159-161.

“Elegy for Roz,” Raven Chronicles Vol. 14, No. 1 (September 2008), 44–45.

Reprinted as “We Remember: Roslyn Zinn,” Jewish Women’s Archives (


“Solitude,” The Gettysburg Review Vol. 21, No. 4 (Winter 2008), 573–578.

This work was listed as one of the “Notable Essays of 2009” in The Best American

            Essays 2008 ed. by Mary Oliver.


“Object & Ritual,” Fourth Genre Vol. 10, No. 2 (Fall 2008), 55–58.

This work was nominated for a Pushcart.


“Polymer Persons,” The American Scholar Vol. 77, No. 2 (Spring 2008), 108–112.


“From Chaos to Creative Achievement: The Body of Work Inventory” (craft essay), January 2008, The Writer’s Craft, It’s About Time Writers’ Series website (


“Dressing,” Under the Sun Vol. 12, No. 1 (Summer 2007), 35–44.

This work was listed as one of the “Notable Essays of 2007” in The Best American Essays 2008 ed. by Adam Gopnik.


“A Bridge to Beauty,” Seattle Metropolitan (August 2006), 44.


“Genome Tome,” The American Scholar Vol. 74, No. 3 (Summer 2005), 28–41.

This piece won a 2006 National Magazine Award for best feature writing.

Reprinted in The Best American Magazine Writing 2006 (New York: Columbia University Press, 2006), 3–22.

Reprinted in Feature Writing for Newspapers and Magazines Sixth Edition ed. by Jay Friedlander and John Lee (New York: Pearson, 2008).


“Disappearances,” Ontario Review No. 63 (Fall/Winter 2005–06), 52–61.


“The Musician,” Under the Sun (Summer 2005), 71–74.


“Happy Ending,” American Letters & Commentary (2004), 191–193.


“I Am Still Here,” The Awakenings Review Vol. 4, No.1 (Summer 2004), 79–84.


“Déjà Vu,” First Intensity No. 19 (2004), 173–177.


“Hildegard,” The Chattahoochee Review Vol. 24, No. 1 (Fall 2003), 73–75.


“Inheritance,” North Dakota Quarterly Vol. 70, No. 3 (Summer 2003), 51–55.


“Goodbye, Goodbye,” Ontario Review No. 59 (Fall/Winter 2003-04), 144–151.


“Doing Nothing,” Under the Sun Vol. 8, No. 1 (Summer 2003), 42–47.


“Banjo: Six Tunes for Old Time’s Sake,” Fugue Vol. 24 (Winter 2002), 19–30.

Reprinted in Tribute to Orpheus (Bellingham: Kearney St. Books, 2007), 182–193.


“Stonework,” Passages North Vol. 23, No. 1 (Winter/Spring 2002), 35–42.


“Writing as Farming,” North Dakota Quarterly Vol. 69, No. 1 (Winter 2002), 31.


“Too Late for Miss Roselli,” in Pass/Fail (Akron, OH: Red Sky Books, Kleidon Publishing, 2001), 71–74.


“Archeology of Childhood,” The Journal Vol. 25, No. 1 (Spring/Summer 2001), 97–109.

            This literary nonfiction won The Journal’s William Allen Creative Nonfiction Prize.


“Major Walter Long,” Painted Bride Quarterly No. 64 (Fall/Winter 2000), published online at (


“We Called Ourselves Sisters,” in The Feminist Memoir Project: Voices from Women’s Liberation ed. by Ann Snitow and Rachel Blau DuPlessis. (New York: Crown Books, 1998), 324–337.


“The 1913-1914 Colorado Fuel and Iron Strike with Reflections on the Causes of Coal Strike Violence” in A Model of Industrial Solidarity? The United Mine Workers of America, 1890-1990 ed. by John H. M. Laslett. (University Park: The Pennsylvania State University Press, 1996), 345–370.


“Fiction as Biography: the Character as a Window on the Human Condition,” North Dakota Quarterly, Vol. 59, No. 3 (Summer 1991), 201–207.


“The Voice of the Gun: Colorado’s Great Coalfield War,” Labor’s Heritage (October 1989), 4–23.


“The Women of the Colorado Fuel and Iron Strike, 1913-1914,” in Women, Work, and Protest: A Century of U. S. Women’s Labor History ed. by Ruth Milkman. (New York: Routledge and Kegan Paul, 1985), 64–85.


Mother Jones: Woman Organizer, and her Relations with Miners’ Wives, Working Women, and the Suffrage Movement (40 page monograph). (Boston: South End Press, 1976).


Short Stories


“Our Separate Ways,” The Dalhousie Review Vol. 89, No. 3 (Autumn 2009), 397–402.


“Living for Robert,” The Chaffin Journal (2008), 145–156.


“Mrs. Morrissey,” Raven Chronicles Vol. 11, No. 1 (2004), 62–64.


“The Visitor,” Passages North Vol. 25, No. 1 (Winter/Spring 2004), 127–137.


“Gasworks, Rust, and Smoke—Or, Notes for a Memoir—Or?” Southern Humanities Review Vol. 29, No. 3 (Summer 1995), 251–252.


“The Letter,” Widener Review No. 10 (October 1993), 71–82.


“Storm,” The Southern Review Vol. 28, No. 3 (Summer 1992), 587–597.


“The Old Man,” North Dakota Quarterly Vol. 57, No. 4 (Fall 1989), 40–47.


“Solitude: A Love Story,” North Dakota Quarterly Vol. 57, No. 3 (Summer 1989), 138–144.


“Snapshots: the Eastern Shore of Maryland,” North Dakota Quarterly Vol. 55, No. 1 (Winter 1987), 93–99.




“Self-Portrait with Flowers” and “Woods and Snow,” Stand (forthcoming 2012).

“Green River Blues” and “Pantoum for a Pontoon Bridge,” Margie Vol 8 (2009), 215, 216.

“Pisces,” Sow’s Ear Vol. 19. No. 2 (Summer 2009), 7.

“I Am the Light of the World,” Aurorean Vol. 14, No. 1 (Spring/Summer 2009), 28.

“Creatures,” The Delmarva Review Vol. 2 (2009), 50.

“Bridge Pose,” and “History (Eleventh Street Bridge),” The Cincinnati Review Vol. 5, No. 2 (Winter 2009), 177, 178.

“Bascule Bridge” and “God-Trails,” Southern Poetry Review Vol. 46, No. 1 (2008), 20, 21.


“The Red Queen,” Earth’s Daughters No. 72 (2008), 57.


“Terrible Bread,” Ballard Street Poetry Journal (Winter 2008), 10.

This poem was nominated for a Pushcart.


“Daughter” and “Dutch Interiors,” The New Orphic Review Vol. 11, No. 1 (Spring 2008), 18, 19.


“Queen of the Cut,” Stringtown No. 10 (2007), 23.


“Words Referring to Unspeakable Events,” Pontoon: Anthology of Washington State Poets No. 9 (Seattle: Floating Bridge Press, 2006), 36.


“Hermit’s Chronicle” and “Pacific Northwest Nature Poem,” The Wandering Hermit Review No. 2 (Winter/Spring 2006), 146, 147.


Red Hunger,” Pontoon: Anthology of Washington State Poets No. 8 (Seattle: Floating Bridge Press, 2005), 73.


“Decomposition,” The Wandering Hermit Review No. 1(Summer/Fall 2005), 44–45.


“Facing East,” The Seattle Review Vol. 28, No. 2 (2006), 13.


“Journey,” Faceré Signs of Life Exhibition Catalog (Seattle: Faceré Art Jewelry Gallery, 2005), 8.


“Rune,” and “How To Make a Poem,” The New Orphic Review Vol. 7, No. 2 (Fall 2004), 49, 50.

“Rune” was reprinted in Tattoos on Cedar Vol. 2 (2006), 51.


“Thief of Fire,” Literary Salt Vol. 1, No. 2 (February 2002), published online at (


“My Sister’s Bones,” The Psychoanalytic Experience: Analysands Speak, published online at  (


“Reverie for Bachelard,” Hidden Oak Poetry Journal (Summer/Fall 2000), 24.


“Beauty of Coal,” “Aubade,” “Psalm to Stones” (Reprint), PoetsWest Vol. 3, No. 1 (Spring 2000), 38, 39, 40.


“Lantern Keeper,” PoetsWest Vol. 2, No. 4 (Winter 1999), 61.

Reprinted in Night Bringing Feathers (Bainbridge Is.: Fly By Night Press, 2006).


“The First Mile,” Roanoke Review Vol. 25, No. 2 (Fall 1999), 6.


“Paintings and Poems” exhibition (poems by Priscilla Long; paintings by Sandra Nickerson). The Cape Cod Conservatory, W. Barnstable, MA, May 1998; Habitude Gallery, Seattle WA, November 1998.


“Psalm to Stones,” Open Bone Review Autumn 1998.

Reprinted in PoetsWest Vol. 3, No. 1 (Spring 2000), 38.


“On the High Cost of Keeping Horses,” “Like Certain Old Women,” “Nuclear Winter,” “Snapshot: Seattle,” “Legacy,” “The Printer’s Poem,” “The Return of Geese,” “Seascape: Narragansett Bay,” “Summer Nights,” “The Light at Arles,” “Abstraction,” “Realms of Desire,” “Rhapsody,” in Seattle Five Plus One: Poems. Youngstown, Ohio: Pig Iron Press, 1995, 65–77.


“Legacy,” Exhibition Vol. 10, No. 2 (Summer 1995), 7.


“Dark Wings,” Seattle Review Vol. 16, No. 2 (Fall 1993/Winter 1994), 52.


“House of Anger,” Cumberland Poetry Review Vol. 12, No. 2 (Spring 1993), 27–28.


“Woman at 47,” Bellingham Review Vol. 15, No. 2 (Fall 1992), 44.


“Black Diamonds,” Cincinnati Poetry Review No. 23 (Fall 1991), 30.


“Draft Resister,” Seattle Review Vol. 14, No. 2 (Fall 1991/Winter 1992), 5.

Reprinted in The Poem and the World (Seattle: The Literary Center, 1993), 64–65.


“The Return,” North Dakota Quarterly Vol. 56, No. 1 (Winter 1988), 94.


“Machine Operator’s Sunday,” Jam To-Day No. 12 (1986), 85.


“Anthracite,” The Round Table Vol. 3, No. 1 (Spring 1986), 28.


“Lurking,” Crazy Quilt Vol. 1, No. 1 (Spring 1986), 56.


“Nuclear Patchwork,” Visions No. 20 (March 1986), n.p.


“To California,” Mickle Street Review  No. 7 (October 1985), 83.


“River,” Poetry Fullerton No. 4 (Autumn 1985), 26.

Reprinted in Kent County News (Chestertown, Md.), February 26, 1987, 26.


“Rain,” Connecticut River Review Vol. 6, No. 2 (Spring 1985), 21.



Art Exhibition Reviews, Book Reviews, Review Essays


Review of Art and Politics Now: Cultural Activism in a Time of Crisis by Susan Noyes Platt, Raven Chronicles Vol. 16, No. 1-2 (Summer 2012), 90–92.


“Ode to Joy,” Review of Exploring Happiness: From Aristotle to Brain Science by Sissela Bok, The American Scholar (Winter 2011), 116–118.


“The Peacock Problem,” Review of The Genial Gene: Deconstructing Darwinian Selfishness by Joan Roughgarden, The American Scholar, Vol. 78, No. 2 (Spring 2009), 118–121.


Review of The Face of Decline: The Pennsylvania Anthracite Region in the Twentieth Century by Thomas Dublin and Walter Licht, Technology and Culture Vol. 48, No. 1 (January 2007), 205–206.


“Worked Well With Others,”  Review of Francis Crick: Discoverer of the Genetic Code by Matt Ridley, The American Scholar Vol. 75, No. 3 (Summer 2006), 121–123.


“New Genres and the Authors Who Cross Them,” Review of The Nature of Home by Lisa Knopp, The Man Who Swam Into History by Robert A. Rosenstone, and Woman Walking Ahead by Eileen Pollack, Michigan Quarterly Review Vol. 43, No. 3 (Summer 2004), 454–466.


“Saints and Science,” Review of The Lives of the Saints: Poems by Suzanne Paola, Women’s Review of Books Vol. 20, No. 12 (September 2003), 11.


Review of Working the Garden: American Writers and the Industrialization of Agriculture by William Conlogue, Technology and Culture (2003).


“Literate Obsessions,” Review of The Beauty of the Husband by Anne Carson, Women’s Review of Books Vol. 19, No. 1 (October 2001), 14.

Review of Caverns of Night: Coal Mines in Art, Literature, and Film ed. by William B. Thesing, Technology and Culture Vol. 42 (October 2001).

“PostColonial Poet,” Review of The Lost Land: Poems by Eavan Boland, Women’s Review of Books Vol. 16, No. 7 (April 1999), 17.


“Lost and Found,” Review of I Can’t Remember: Poems by Cynthia Macdonald, Women’s Review of Books Vol. 15, No.7 (April 1998), 7–8.


“Jacqueline Barnett,” Review of painting exhibition, Aorta: Contemporary Art and Culture Vol. 1, No. 4 (April/May 1997), 26.


“The Poetics of Passion,” Review of The Life of Poetry by Muriel Rukeyser, Women’s Review of Books Vol. 14, No.5 (February 1997).


“Poet’s-Eye View,” Review of Nature: Poems Old and New by May Swenson, Women’s Review of Books Vol. 12, No. 4 (January 1995).


“Mississippi Memories,” Review of Trials of the Earth by Mary Hamilton, Women’s Review of Books Vol. 10, No. 9 (June 1993).


“Miner Classic,” Review of The Unquiet Earth by Denise Giardina, Women’s Review of Books Vol 9, No. 12 (September 1992).


“Writing for Our Lives,” Review of Critical Fictions: The Politics of Imaginative Writing ed. by Philomena Mariana, Women’s Review of Books Vol. 9, No. 5 (February 1992), cover review.


“A Diversity of Gifts,” Review of No Peace at Versailles and Other Stories by Nina Barragan, Primary Colors and Other Stories by Barbara Croft, and From the Lanai and Other Hawaii Stories by Jessica K. Saiki, Women’s Review of Books Vol. 8, No. 10–11 (July 1991).


Review of Emma Goldman in Exile by Alice Wexler, Women’s Review of Books Vol. 7, No. 3 (December 1989).


Review of The Correspondence of Mother Jones ed. by Edward Steel, Western Pennsylvania Historical Magazine Vol. 69, No. 4 (1986).


Review of Mother Jones: The Miner’s Angel, A Portrait by Dale Featherling, Labor History 1974.




“Object and Setting” in Market Sense newsletter of the Pacific Northwest Writers Association ( (October 2004).


Introduction to Nailed to the Sky: Poems by M. Anne Sweet (Seattle: gazoobi tales, 2003).


(with Staff of HistoryLink), “Virtue, Vice and Votes for Women,” The Seattle Times November 7, 2000, p. B7.


“Ludlow Massacre”” and “Jones, “Mother” Mary Harris (1836-1930) “ in Encycopedia of the American Left ed. by Mari Jo Buhle, Paul Buhle, and Dan Georgakas (New York: Garland Publishing, Inc. 1990).


“Jones, Mary Harris, ‘Mother'” in Reader’s Companion to American History ed. by John Garraty and Eric Foner (Boston: Houghton Mifflin, 1993).


What is Offset Printing? A Guide to the Preparation of Materials for Printing (90 pages). (Boston: Red Sun Press, 1984).


Editor, The New Left: A Collection of Essays (Boston: Porter Sargent Publisher, 1969).




2009    Jack Straw Writers’ Program fellow


2006    National Magazine Award (American Society of Magazine Editors) for Best Feature Writing, awarded to The American Scholar ed. by Robert Wilson for “Genome Tome.”


2003    Richard Hugo House Founder’s Award.


2002     Seattle Arts Commission award for creative nonfiction.


2001     The Journal’s William Allen Award in creative nonfiction for “Archeology of



1997    Ludwig Vogelstein Foundation, Inc., support for work on  artist book.


1992    Seattle Arts Commission, award for short fiction.


1992    DeSimone Fellow, Millay Colony for the Arts, Austerlitz, NY.


1988    Los Angeles Arts Council award (short fiction).


1987    Research grant (coal mining history), The Rockefeller Archive Center.


1986    Berkshire Fellow (in history), Bunting Institute, Harvard University.


1986    Mary Roberts Rinehart Fund grant for work on poetry.






The Virtuoso Sentence, The Virtuoso Paragraph


First-rate writers use all the sentence forms, and they use particular forms not at random but to carry particular meanings or emotions. This hands-on course in developing virtuoso skills in sentencing and paragraphing is designed for writers of all levels—from beginner to advanced— interested in revising across several short works or across a book-in-progress. During our week together, we’ll scrutinize brilliant sentences and paragraphs and we’ll deepen our craft skill by writing or revising our own, using identical structures and analogous moves. Always working on our own material (this is not a return to the Third Grade!), we’ll shape our sentences to intensify their content, perhaps using a shattered sentence (a fragment) to hold a shattering experience, and a slow, lazy, flowing sentence to hold a slow, lazy, flowing experience. Our new paragraphs will include leaps, turns, flourishes, and, always, transitions. Diction (word choice) is part of it: We’ll explore techniques for gathering language that is more original, more true to our own vision, and more sonorous.



Master Class, Prose (Richard Hugo House, Seattle)


For serious writers at all levels. This seminar (not workshop) begins with basic productivity, writing for a short spell every day. We’ll scrutinize models of superb writing, perceiving strategies and moves and incorporating them into our own work. We’ll hone our observation skills; working with language as sound and developing a lexicon practice to leave behind received conventional diction; we’ll hone sophisticated sentencing skills and study deep structures of short pieces. Expect to work hard and have fun. No laptops in class please.



Advanced Short Forms Seminar


This seminar in writing short fictions and short creative nonfictions meets for eight weeks during the winter quarter and eight weeks during the spring quarter. It has been convening for about ten years and has a somewhat-shifting core of writers who are becoming remarkably skilled and increasingly published. The strategies we engage range from narrative (and narrator) strategies to time shifts (spanning time, skipping time, flashbacks, and flash-forwards) to coloration to portraiture to voice to metaphor to various sentence strategies to diction. We constantly look at the deep structures of stories and essays.



Four-Session Craft Intensive


In this intensive class we scrutinize the forms of several short works and choose one through which to write a new piece. We work on craft skills such as sophisticated sentencing and observational and language skills. This seminar began when I left teaching at the University of Washington Extension. These writers form a different shifting core group and are also becoming remarkably skilled and ever-more-published.


New Forms in Nonfiction: Writing Literary Collage

The collage and its first cousin, the abecedarium, are marvelous forms of creative nonfiction that suit a wide variety of subject matters. In this nonfiction class we scrutinize models of the form and we’ll each write one of our own. In the process we’ll work intensely on craft skills (language as sound, sophisticated sentencing, and so on). We’ll hone our observational skills to make our writing more keenly observant and we’ll develop strategies to deepen the insight of our works.


Becoming a More Effective Creator


This is a three-session class designed to mentor you on how to better reach your goal of realizing work that is accomplished, brilliant, and relevant to your values, and how to then put it out into the world, whether you write poems, essays, articles, novels, creative nonfictions, or stories. Open to all writers from beginner to well-published and to creators in other genres. The principles and strategies put forward here are based on the instructor’s years-long study of the choices and practices of world-class visual artists.


Writing to See Art (one four-hour session)


Writing in response to a work of visual art may lead you to a poem, a rhapsody, a review, a personal essay, or a short fiction. For two hours we will look at two different works of art and respond in a series of exercises that will enable us to see them more intensely and respond to them more deeply. Afterwards we’ll look at masterpieces of art writing in several genres. We’ll discuss their delicacies and try writing using their techniques. Finally we’ll write toward a piece of our own.



  • The Virtuoso Sentence

Whidbey Island Writers’ Conference

Taos Summer Writers’ Conference (one-week course)

Field’s End Writer’s Conference

Chuckanut Writer’s Conference (Bellingham, Washington)

Whidbey Island “lockdown retreat”

Skagit Valley Writer’s Association


  • Habits and Practices of Virtuoso Creators

Hugo House Writer’s Conference

Write on the Sound Writers Conference (Edmonds)

Whatcom Writer’s Association

Seattle Freelancers


  • Working with Sound in Poetry and Prose

Field’s End Writers’ Conference

Safeco Neighborhood Academy


  • Talk(s) on structuring literary forms

      Pacific Northwest Writers Conference (“Structuring Your Novel”)

Gig Harbor Writers’ Conference (“Structuring a Creative Nonfiction”)


  • Writing Historical Fiction

Moderator, panel at Northwest Bookfest


  • Writing Memoir: Structure and Strategy

Rainier Club

Northwest Bookfest


  • From Chaos to Creative Achievement: Organizing Works to Further and Sustain Creative Energy

It’s About Time Reading Series (Seattle Public Library)





Member, The Author’s Guild

Member, The Association of Writers and Writing Programs (AWP)

Member, Teachers & Writers Collaborative

Member, American Pen USA West

Member, Artist Trust (Seattle)

Member, Richard Hugo House (Writers’ Center)

Member, American Civil Liberties Union

Member, Amnesty International

Member, Washington Poets Association

Fiction reader for Seattle Review (1990–1995)

Member, Seattle Five Plus One, performing poets (1991–2000)




1998–present               Senior Editor, ( The online encyclopedia of Washington state history.


1990–present                           Writing Instructor.  I teach writing independently, at University of Washington Extension (1998-2005), Field’s End (Bainbridge Island), and a master class (prose) at Seattle’s Richard Hugo House.  I teach at writers’ conferences such Pacific Northwest Writers’ Conference and the Taos Summer Writers’ Conference. My classes emphasize craft: deep structure, language work, sophisticated sentencing (sentences that enact meaning), as well as productivity and the intelligent and intense use of models of great writing.


1974–1984                              I worked fulltime as a printer while also researching my book on the history of coalmining.  I was co-founder and co-manager of Red Sun Press, Boston, Massachusetts.




MFA   1990   Creative Writing Program, Dept. of English, University of Washington, Seattle


BA    1967     (in history) Antioch College Yellow Springs, Ohio




(Many readings during the 1990s were done with the poetry performing group The Seattle Five Plus One. Readings are in Seattle unless otherwise specified.)


Seattle Public Library

Taos Summer Writer’s Conference (faculty reading)

Kobo Gallery

Jack Straw Foundation

Frye Art Museum

Poulsbohemian (Poulsbo, Washington)

Jewel Box Theatre (Poulsbo)

Carpe Diem Series, Karpeles Manuscript Museum (Tacoma, Washington)

Seattle City Council

Penny Café (Ballard)

Lux Café (Belltown)

Lottie Mott’s (Columbia City)
Still Life Café  (University District)

Take Another Look Books (Columbia City)

Amy Burnett Gallery (Bremerton)

Brooklyn Avenue Bookshop
The Elliott Bay Book Company
Antioch University, Yellow Springs, Ohio (Feminist Memoir Project)
Habitude Gallery Paintings and Poems Exhibition
Titlewave Books
Bumbershoot 1998
Redmond Arts Commission Wordsplosion Literary Arts Fair
Louisa’s Cafe (solo reading)

Redmond (WA) Public Library
Poetry Circus (Center on Contemporary Art–CoCA)
Bellevue Art Museum
University Bookstore
Eagle Harbor Books (Bainbridge Island)
Barnes & Noble (Bellevue)
Kirkland Arts Ce