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Fulton, Alice
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Language material
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Related names: 
Archive of Recorded Poetry and Literature (Library of Congress)
Bobbitt, Philip
Collins, Billy
Gertrude Clarke Whittall Poetry and Literature Fund
Gifford, Prosser
Mosby, Rebekah Presson
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83:2:147–167| page =| date =april 1995| accessdate =}}/refmany critics have praised the aural dimension of fulton's poetry. writing about
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Alice Fulton and James Galvin reading their poems
... amply demonstrates not only fulton's broad range of interests but also her continual and evolving sense of how to use the most seemingly insignificant details to illuminate the nuances of difficult moral ideas." | sarah cohenref{{cite news| first
Anchors of light, 1979:
apart from so many other precocious debut collections is fulton’s knack for the ineffable, for creating stories that are more than the sum of their intricately assembled parts. her best stories not only exhibit her architectural prowess, they also remind the reader of the near-magical capaciousness of the story form.ref{{cite news| first
Barely composed : poems
contains many examples of her signature use of polyphony and word superclustersref name="miller"{{cite news| first
Dance script with electric ballerina
described it as "a wry sendup of academics, featuring a bona-fide poem littered with marginalia from different critics, each with distinct personalities, literary persuasions and handwriting."ref name="dove x12"{{cite news| first
Feeling as a foreign language : the good strangeness of poetry
Felt : poems
'fulton's poetics "challenges the conventional wisdom among many poets that the content of a poem is less important than its form. in practice, fulton has created a poetic style that is remarkably "about things" in the sense that her poems explore their overt subject matter deeply and uphold their convictions with rigor.
introduced fulton's invention of the double-equal or bride sign (see poetics below). [[dorothy barresi]] claimed that this work is "what great poetry must do and be" and that "fulton's poems are like no one else's today‚" with their "on-again, off-again elasticity — a stretching smoothness to some lines, and a snapped back, taut quality to others — that manages to sound both eloquent and scared." barresi concluded that "fulton writes with fiery intelligence, and unapologetically so, for it is in the acts of thinking and rethinking that this poet believes we stave off the brute world's numbing assault."ref{{cite news| first
is “fetishistic, wildly associative, demonically apt and simply eloquent, calling to mind [[max planck]]'s quote about the purpose of science as an 'unresting endeavor' developing toward a vision which 'poetic intuition may apprehend, but which the intellect can never fully grasp.' "ref{{cite news| first
is meant to signify both an emotion once experienced [and] the fabric constructed by fibers that are forcibly pressed, rather than woven, together."ref{{cite news| first
is structured in six parts, each focused on the etymology of "palladium" with the trope carried to ellen foscue johnson's palladium photographic print on the cover. one review explained the organizing structure this way: "etymology breeds metaphor; palladium generates the imagery and energy of the poems, informing them all without necessarily intruding upon them. the organizing principle of an alice fulton poem allows for cohesiveness yet is not so narrow or restrictive as to inhibit the flow of associations and ideas. it's as though the world itself were endowed with a centrifugal force, enabling the poet to branch out in numerous directions — parallel lines that manage to intersect on their separate paths to infinity."ref{{cite news| first
larissa szporluk asserted that "fulton's acoustic signals reign, giving the impression that behind their creation lies some kind of unimaginable technology, telepathic jazz, or just plain genius."ref{{cite news| first
megan harlan also commented on how fulton's poems are "aurally rich with slant rhymes and musical rhythms." the wordplay present in fulton's earliest poems has by now become thoroughly suffused:blockquote"in alice fulton's poetry, those charged instances when the literal and the metaphysical (and the sensual and the philosophical) overlap are often mediated by wordplay — a pun, a double entendre, a witty turn of phrase. the title of her marvelous fifth collection
Nightingales of troy : stories of one family's century
Palladium : poems
Poems. Selections
Powers of Congress poems
reading by Alice Fulton winner of the 2002 Rebekah Johnson Bobbitt National Prize for Poetry., A
"ref{{cite news| first
reviewer wrote, "reading her poems is something like listening to a set of the most spirited and peculiar jazz: you must sharpen your spirit to be moved by what is uncanny and rare."ref{{cite news| first
. [[rita dove]] in the
Sensual math
suggest that “in her drive to freshen poetic diction, avoid cliche and sentimentality, and create 'skewed domains‚' in her poetry, fulton has distinguished herself as one of the most original american poets writing today. she has succeeded in challenging not only assumptions about gender roles, but also the assumptions underlying current modes of poetry such as the autobiographical, first-person lyric or the experimental 'language poem.'"ref{{cite news| first
("the dance of the intellect among words") and writes that "we are always engaged by ... the sense of linguistic virtuosity... a constant delight ... in language textures, the every-shifting shock and jolt of an electric surface."ref{{cite news| first
, w. d. snodgrass reads fulton's poetry as a rare example of
was admired for its "energy and passion for specificity,"ref name="yenser 2002 84-118" / its "wit and unpredictable, wildly heterogenous combinations,"ref{{cite news| first =| last =| title
was also selected by the [[los angeles times]] as one of the best books of 2001.as with her poetry collections, fulton's first fiction collection is carefully constructed from interwoven parts "playing off and enhancing the meaning of one another."ref{{cite news| first