"Writer is a marvel of talent, energy"
Column by Cary Clack, San Antonio Express-News, Nov. 29, 2008
By the time the sun sets this evening there are any number of thing that
Bryce Milligan may have done. He could have written a chapter or two of his new
novel and, if he gets stuck, switch over to a poem that's not quite complete,
maybe do a book review, start a new play or children's book or, if suddenly
inspired, whip up a song for the CD he's working on.
If the guitar or drums he's playing don't sound right, he might begin making
a new guitar or drums before editing the manuscripts and designing the covers
for the dozen or so books by other writers his publishing company will publish
over the next few months. If he gets bored he may build a new bookshelf and, if
he has a spare hour before going to bed, he may indulge his love for science,
especially astronomy, by scoping out the stars.
So what did you do today?
The time we're given on this Earth is uncertain and the talents we're blessed
with are often untapped. But time, like talent, is what we make of it.
You won't find many people who make better use of their time and talents than
Milligan, one of San Antonio's best-known writers and a literary godfather in
The scope of the 55-year-old's career and the range of things he's done are
fascinating. To sum up that career, he either is or has been a novelist,
essayist, short-story writer, poet, essayist, folk singer/song writer, musician,
instrument maker, carpenter, a rare book bibliographer and appraiser, a college
English and creative-writing instructor, arts administrator, book and magazine
publisher, book designer and publisher and — the least impressive of his jobs —
a newspaper columnist.
"Bryce Milligan is the kind of guy you'd like to hate," says award-winning
writer Robert Flynn, whose short memoir, "Burying the Farm" was published
earlier this year by Milligan's Wings Press. "Not only can he do anything you
can do and do it better, he can do things you can't do. I asked him if he could
play a musical instrument — I can't — but at least it would be something he
couldn't do. Not only can he play a musical instrument, he sings songs that he
has written, accompanying himself on instruments that he made. That's hard to
For his part, Milligan says, "I'm sure a lot of people think I'm creative but
I'm just trying to pay my bills."
At the center of his creativity is his passion for books and the written word
that was ignited as a child while reading "The Adventures of Huckleberry Finn"
in a tree in his backyard home in Dallas. The poetry and criticism he's written
for adults and the fiction he's written for children and young adults earned him
the title of "literary wizard" from Bloomsbury Review.
"Books are everything," he says. "Everything you can do you can learn from
Much of what he does begins at the Southtown home he shares with his wife,
librarian and writer Mary Guerrero Milligan. It's a neighborhood where, every
Christmas season, the Milligans celebrate the Mexican religious Christmas
tradition of Las Posadas as Milligan, guitar in hand, leads "pilgrims" door to
door in song before ending up at their home for plentiful food, drink and
holiday cheer. It's the home where they raised their two children, Michael, an
astrophysicist and astronomer, and Brigid, a communications manager for Morgan
Stanley in New York.
Milligan's office is out back in a blue carriage house, on a second floor
that's a writer's delight with bookshelves holding most of the 20,000 books that
he owns. On the walls throughout the several rooms are letters and poems to
Milligan signed by the likes of Seamus Heaney, Stephen Spender, Joy Harjo and
Robert Bly. There's a thank you note from J.R.R. Tolkien.
Tucked in a corner in one room is a recording studio he's built and where
he's recording a CD of folk songs. In the room where he writes are two of his
guitars, a music stand with a songbook, and, at his desk on his computer screen,
next to a bottle of Jameson Irish whiskey, is Milligan's latest literary
It's a simple little thing, really: a series of novels about Enheduanna, a
woman who was the first-known writer in the history of the world. It's a project
Milligan prepared for by spending several years learning cuneiform writing and
the Sumerian language of 2,300 B.C. Milligan, fluent in Spanish, also reads in
several other languages, including Latin, Greek, Welsh, Norse, Anglo Saxon
English, Middle English and Old Irish.
"I want to learn Finnish but it's too far out there," he says.
Even the novel he's writing and the desk he's writing it on are a
cross-fertilization of his creativity. Last spring, while working on the book,
he took a break to retrieve a cedar tree cut down across the alley and made his
new desk out of it.
"Everything is related to creativity," says Milligan. "When I can't write,
I'll build something."
In addition to his own work, Milligan edits, designs and markets the publications produced by Wings Press, his highly
respected publishing company, which was profiled last year in Poets & Writers Magazine. He can only publish a very small number of the 60-70 submissions he gets each week. He calls some of the manuscripts he has to turn down "wonderful stuff" and calls what he does at Wings Press "necessary work, especially for young writers, non-writers and people of different ethnicities, faiths and perspectives who wouldn't make it into the mainstream press.
"I'm attracted to people who are creative," he says.
Writer Flynn says of Milligan, "He's every writer's friend, not just as a friend who can do anything you can and not talk about it, but as moral and morale supporter.
Milligan's Renaissance qualities are rooted in believing in himself. "I never thought that I couldn't do something," he says.
And yet . . .
Recently, Milligan was showing off the gazebo he built over the summer. The gazebo was marvelously crafted but then Milligan looked with disappointment at his yard and said, "I can't grow grass."
Cary Clack's column appears on Sundays, Tuesdays and Thursdays. To leave him a message call (210) 350-3486 or e-mail at email@example.com
Milligan has twice been a finalist in the Kerrville New Folks songwriting competition. He credits much of what he knows about songwriting to hanging out in the tuning room at the Rubaiyat in Dallas as a young teen in the late 1960s.
About Bryce Milligan
Born in Dallas, Texas, Bryce Milligan has lived in San Antonio since 1977. Among other things, he has been a folksinger, a maker of guitars, drums and dulcimers, a carpenter, a rare book bibliographer and appraiser, a college English and creative writing instructor, a poet-in-the-schools, an arts administrator, a book and magazine editor, a book designer, and a publisher. As a writer,
he has been a newspaper columnist, a freelance journalist, a scholar, a novelist, a poet, a playwright, and an essayist. It has been an interesting life.
Milligan's literary papers are archived at the San
Antonio Authors Collection of the University of Texas at San Antonio, Institute of Texan Cultures.
"A Poet's Poet"
Milligan is also the author of four collections of poetry, Daysleepers
& Other Poems (1984), Litany Sung at Hell's Gate (1991),
From Inside the Tree (cassette, 1990, 1994),
the Stone (Wings Press, 1994), Alms
for Oblivion: A Poem in Seven Parts (London: Aark Arts, 2003) and
and Certain of It (London: Aark Arts, 2006). In The Texas Observer,
critic A. E. Mares compared Working the Stone to the poems of Seamus
Heaney and Donald Hall. Critic Paul Christensen called Alms for Oblivion
"an important poem" and his language "rich, dense, charged
with the power of Eliot's Tiresias in The Waste Land and his
more brooding voice in The Four Quartets." Alms for Oblivion
had the honor of being republished in its entirety in 2010 by the journal,
The Invisible College. John Hammond, writing in the San Antonio
Express-News, said of Lost and Certain of It: "Fueled by
the primal forces of nature, human longing and music, Bryce Milligan's poems
often become a kind of spiritual journey, a way to understand how our lives
are balanced among various tensions. These are powerful, lyrical poems that
often take flight."
Milligan is the author of five historical novels and short story collections
for young adults, including
With the Wind, Kevin Dolan (Corona Publishing, 1987), which received
the Texas Library Association's first Lone Star Book Award in 1990. It was
translated into German and published there in 1994 .Currently, he is writing
a series of novels about the world's first writer whom we know by name, Enheduanna
of Ur (ca. 2,300 BC).
Milligan is also the author of five locally produced plays and well over
2,000 articles, essays, and reviews which have appeared mainly in the Southwest,
but also as far afield as The New York Times, the Chicago Tribune,
and the Los Angeles Times.
Milligan holds a M.A. in language and linguistics (Anglo-Saxon and Old Irish) from the University of Texas at Austin.
He has written extensively about Latino/Latina literature. Milligan is the
primary editor (co-editors are Angela de Hoyos and Mary Guerrero Milligan)
of the Fifth Sun: A Collection of Latina Fiction and Poetry
(Putnam/Riverhead, 1995, paper, 1996). Daughters of the Fifth
Sun spent three years on the New York Public Library's "Best Books
for the Teen Age" list. He is also one of the editors of a CD Rom,
American Journeys: The Hispanic American Experience (Primary Source Media,
1995). A second major anthology of Latina poetry edited by Milligan was
Si! - A Collection of Latina Poetry (Penguin, 1997).
The founding editor of Pax: A Journal for Peace through Culture (1983-1987)and Vortex: A Critical Review (1986-1990), he became in 1995 the publisher/editor of Wings Press, one of the oldest continually operating small presses in Texas.
Milligan was the book critic for the San Antonio Express News from 1982 to 1987, and for the San Antonio Light from 1987 to 1990. He has taught English literature and composition, creative writing, and education courses at every level from kindergarten to graduate school.
In 1985, Milligan co-founded (with Sandra Cisneros) the Annual Texas Small Press Book Fair, an event which evolved into the San Antonio Inter-American Book Fair and Literary Festival. Milligan directed the literature program
at the Guadalupe Cultural Arts Center in San Antonio 1985-1986 and 1994-2001. Activities created and directed by Milligan included "Hijas del Quinto Sol: Studies in Latina Literature and Identity" (later "Latina Letters")
a conference (co-hosted by St. Mary's University) that ran annually for ten years, the annual San Antonio Inter-American Bookfair and Literary Festival, and an annual PBS-televised poetry slam for young adults.
Milligan and his wife of 35 years, short story writer and librarian Mary Guerrero Milligan, live in a 120-year-old house in downtown San Antonio . They have two grown children, Michael (an astrophysicist) and Brigid (a poet, translator, and public relations account executive).
From The Critics on the Poetry:
Bryce Milligan's Wings Press in San Antonio has for many years published
some of the finest poetry in the Southwest, but this year it's Mr. Milligan's
turn to soar, and soar he does with Alms for Oblivion: A Poem in Seven
Parts. This magical mystery tour of a poem draws from Shakespeare, Beowulf,
Sumerian myths and poetry, Aztec traditions, quantum physics and modern chess
masters, to name but a few of Mr. Milligan's inspirations. Read this poem
ten times and you will experience ten different poems – quite a feat.
– Tom Mayo, Dallas Morning News (Dec. 21, 2003)
Embarking on an ambitious, solemn, and passionate quest into a maze of his own making, the muse-poet in Bryce Milligan's latest collection of poetry, Alms for Oblivion: A Poem in Seven Parts, enjoins the reader to "put
aside the wisdom of one's own age" in our common search for truth and love. Milligan's modern muse stands at a timeless crossroads, culling the threads of poetry from our ancestral tracks made by longing goddesses and lusting
impostors; his cadenced verses tempt our own journey, like the enchantress Siduri, to cast off our routine lives and embrace the immediacy of our ancient, poetic origins. Long meditative poems are a rare treat these days; few poets possess the wherewithal to ship off on a quest that has its roots in the pantheon of Enheduanna's Ur, or Tlazolteotl's Aztecan empire. With Alms for Oblivion, his fifth collection of poetry, Milligan revels in the complexity of mythological
incantations and demonstrates an ease for untangling the riddles of fellow muse-poets. Artist, author, singer, and longtime publisher and anthologist, Milligan is an unusually daring muse-poet for our own time, blessed with Robert Graves's sense of "her naked magnificence."
— Jeff Biggers, Bloomsbury Review (Sept. 2003)
Bryce Milligan is a contemporary Muse poet, a passionate singer of "the idol
at this crossroads," and Alms for Oblivion is his Gravesian claim
on our attention, his dream testament to the beloved, his meditation on doubt
and certainty, time and timelessness, his mythic bid to enter the ring of
fire and attain the spirit.
— Edward Hirsch, director of the Guggenheim Memorial Foundation, author of
How to Read a Poem and Fall in Love with Poetry
Alms for Oblivion is a fluid, hypnotic meditation on the beloved,
combining an ironic discourse on certainty, aging, and time with an impassioned
appeal to myth as a source of greater truths. As muses go, the figure at the
heart of this poem has a history to be traced back to the origins of poetry
in Akaddian love lyrics and forward through the world's epic and romantic
literature. Milligan's language is rich, dense, charged with the power
of Eliot's Tiresias in "The Waste Land" and his more brooding
voice in "The Four Quartets." Alms for Oblivion breaks
new ground for the contemporary long poem, and shows us love as it evanesces
into dreamworlds and underworlds of longing. An important poem.
— Paul Christensen, author of West of the American Dream, et al.;
Creative Writing Coordinator, Texas A&M University
Overall, Milligan's work is an example of modern poetry which uses ancient
themes and myths. Alms showcases Milligan's craft and his mastery
of language through the use of simple phrases and short lines to create and
evoke very complex musings. Alms subtly reminds the reader to keep
the senses open and the extra-senses even more open. I would recommend Alms
to a reader who will read the poem more than once and aloud, as this reader
will be rewarded by the strength of Milligan's line and verse.
— An H. Nguyen, Tertulia Magazine
Above all, it is Milligan's poetry that merits consideration. For thirty
years, he has steadily mined a rich and unique experience in the Southwest.
He has adopted the region as his own, something that runs roughly parallel
to Frost's move from California to New Hampshire, and all the good that
came of his becoming the voice of that stony, enduring earth. South Texas
has seeped into Bryce's bones through his Latina wife and a long and energetic
career serving the arts needs of San Antonio. He has more hats to wear than
almost anyone else I know, but for all that he remains essentially a poet.
His other gifts derive from that innate love of language. He is playful, smart,
witty, and deadly serious, all in the same lyric frame of the short poem.
When he writes more serially, he draws from long reading experience in medieval
literature and epic poetry. Each time I read something new of his, I feel
his expansion, his sure-footedness in sometimes rare terrain. My memoir on
the subject of region, West of the American Dream: An Encounter with Texas,
allowed me to explore some of Milligan's writings of the last two decades,
in which I found him one of the leading spirits of his generation. It wasn't
only his desire to locate that New England voice at the heart of so much Texas
poetry, including that of William Barney and occasionally Vassar Miller, but
to enrich it with an intimate knowledge of the southern temper. If anyone
made the graft of Frost's voice onto the gnarled roots of Texas desert
lyricism, it was Milligan. Donald Hall thought so immediately after reading
— Paul Christensen, author of West of the American Dream, et al.;
Creative Writing Coordinator, Texas A&M University
In Alms for Oblivion, Milligan sails ambitiously toward the realm
of vision. In doing so, he accomplishes something remarkable; he finds the
right lyrical voice for articulating big (and dependably engaging) ideas.
— James Hoggard, former Poet Laureate of Texas, author of Breaking an
Indelicate Statue, The Shaper Poems, et al.
Alms for Oblivion is like a medieval Rajasthani miniature painting
– both Miltonic in ambition and expanse, and understated and image-packed
like a Japanese haiku. It is an oratorical tour-de-force: haunting, cadenced,
mythic, and lyrical. This is a classic ‘quest poem' where the muse-poet abandons
everything – intellect, practicality, passion – only to lose himself in the
very same things, things that are the ultimate essentials of artistic breathing,
creation, and life. Orchestral in scope and shape, Milligan's Alms for Oblivion
is a little gem of an epic.
— Sudeep Sen, author of Postmarked India: New & Selected
In Alms for Oblivion poet Bryce Milligen travels both ancient and
modern seas, navigating by a poet's mathematics and intuition, searching
for the soul's harbor. Do you wonder what keeps a man running through
the bright and dim of his days, what divine muses move him through the prosaic?
Reader, book passage in these lines for a majestic slide.
— Chuck Taylor, publisher of Slough Press, author of Lights
of the City, Only a Poet, et al.
Milligan is a real poet, with the real poet's sure voice, richness and
variety, technical skill, and above all, delight in risk. . . . He pulls out
all the stops, and because he knows so surely what he's talking about,
and has an ear so unerring and an eye so partisan yet unblinking, he gets
away with it. Reading him is a joy.
— John Gardner, novelist and critic, author of Grendel, Nickle
Mountain,The Art of Fiction, et al. (1983)
Milligan's poems give us stories of how we become poets in a land we
are forced to awaken. This is the language we need at the turn of the century
– a clear, biting voice, looking back on where we have been, a poet setting
the wild, brave pace for our future history.
— Ray Gonzalez, Bloomsbury Review (1990)
Here is an ancient intuitive vision and unity brought to the modern experience.
This is a poet who will delight those who revere the word.
— Daisy Aldan, poet, critic, and publisher (1984)
This is poetry that blends academia and real life . . . and generates solid
realms of surprise.
— Dallas Morning News (1985)
Truly exceptional work. Milligan makes clear the potential for visionary
poetry in Texas.
— The Texas Observer (1985)
Here is a life lived "on the strength of words / and the memory of blood."
Poems wise as clouds. Poems as witness, as testimonio. Milligan is one who
casts his luck, echa su suerte con los pobres y los muertos. A drumsong, a
bellsong, to set free the paper cranes in all our hearts.
– Sandra Cisneros, novelist, poet, MacArthur Fellow (1990)
On the Children's books:
STARRED REVIEW in Publishers Weekly (09/09/02)
for Brigid's Cloak: An Ancient Irish Story, which was listed by both
Publishers Weekly and the Bank Street College as a "best of the year"
Told with the gripping delivery of a well-seasoned storyteller, this tale
of a fifth-century Irish saint has the broad appeal of folklore while retaining
the power to inspire religious awe. Milligan draws in readers immediately
with his evocation of a "wild and windy night" when the slave daughter of
a warrior prince is born. The infant receives a visit from a Druid: "I am
one of the fathers of old Ireland. I greet little Brigid, who will be a mother
to the new Ireland that is to come." The Druid gives Brigid a blue cloak and
blesses her with magic. Ten years later, Brigid finds herself mystically
transported to a stable in Bethlehem, where a man named Joseph introduces
himself and his wife, Mary. "Brigid felt as one does when a candle is lit in a very dark
room." She lends Mary her cloak, and blesses Mary and her child. Returning
to her own world, Brigid longs for the family in the stable – but her cloak
is now covered with tiny glowing stars. Helen Cann matches Milligan's deceptively
easy mix of intimacy and awe with her clear, slightly stylized watercolors.
Her Brigid is plain and sturdy, with cropped red hair and freckles, her holy
family tired but inwardly directed. Borders along the bottom of the spreads
incorporate Celtic motifs, echoed within the illustrations with such patterns
as the Druid's flowing locks of white hair, the sheep's curling wool, the
striping on the rams' horns. Readers don't have to share Brigid's faith to
enjoy this story, but those who do may find their faith strengthened.
STARRED REVIEW in Booklist (10/15/02) on Brigid's
Cloak: An Ancient Irish Story:
Gr 1-3. Milligan's folktale-flavored telling, which incorporates elements
of Druidic and early Christian beliefs, introduces Brigid, one of Ireland's
favorite saints, in a story that reveals the origin of her reputation for
generosity. Borders of Celtic designs frame Cann's mixed-media pictures and
add both authenticity and wonder to the tale, which begins with her birth
and goes on to tell of a vision in which she is transplanted to Jerusalem
at the time of Jesus' birth, welcomes Mary and Joseph, and helps care for
the newborn baby Jesus. A full-page close-up of a Druid wizard holding the
infant Brigid, wrapped in the blue cloak he gave her, is particularly impressive;
his light-green eyes exude wisdom as his white hair flows around his face.
Just as good is the portrait of the Holy Family, with Brigid in their midst,
which evokes the peace and happiness Brigid feels at Mary's kind words, ‘Thank
you, child of the West. Your generosity will be remembered always.' An author's
note explains more about Brigid and the stories surrounding her cloak.
— Diane Foote, American Library Association
STARRED REVIEW in Booklist (03/15/03) for The
Prince of Ireland and the Three Magic Stallions:
— Carolyn Phelan
Gr. 1 - 3. Milligan, who also wrote Brigid's Cloak (2002), here retells
with grace and gusto an Irish folktale he heard as a child. When the king
of Ireland's eldest son displeases his stepmother, she sets him a seemingly
impossible task: bring her the three magic stallions belonging to a young
giant. The prince sets out on the quest with his two loyal stepbrothers, but
they soon find themselves the giant's prisoners, dangling from his stable
rafters above a roaring fire. When the prince learns that only a story can
stave off the giant's fury, he tells a tale that earns the brothers' freedom
and the giant's gratitude – as well as the stallions. Like Shaharazad, the
prince saves his own and others' lives with a narrative that enthralls his
audience. The appended author's note includes information on the story's roots
as well as the definitions and pronunciations of the three Irish words used
in the text. Written with an Irish lilt and storyteller's sense of pacing,
the tale has a sense of music about it that finds expression in McDaniels'
graceful, sometimes humorous illustrations. The lively pencil drawings, tinted
with watercolor washes, focus on dramatic moments, but the humble details
help create an inviting setting. An engaging picture book to read aloud.
On the Historical Novels:
I commend and recommend Bryce Milligan's novel, With the Wind, Kevin
Dolan, which so clearly teaches several lessons. His secret is that he
is firstly a storyteller and secondly and almost incidentally the gentlest
of teachers. There are many lessons here: lessons of history, lessons about
oppressors and the oppressed, lessons about courage, hope, and love. . . .
— Patricia Donlon, Director, National Library of Ireland
Kevin (the main character) is bright and feisty, and thoughtful as well. .
. . This is a period and a place in history that should be better known than
it is. I hope Kevin Dolan will have a wide readership. It deserves it.
— Madeleine L'Engle, novelist, Newbery Award recipient
A grand ramble through early 19th century Irish and Texas history, but above
all one marked by faith, courage, and that questioning awareness of rights
and wrongs that make for the growth of conscience.
— Ruth McConnell, Librarian, Newbery Award committee member
An eminently satisfying work. . . . One comes away from Kevin Dolan
with a better sense of the complexity of human history and a greater appreciation
for the ethnic diversity that constitutes Texas.
— Prof. Fred Erisman, Texas Books in Review
The play is light enough for the youngest audience member, but profound enough
to engage the interest of almost any adult. . . . The whole play has lots
and lots of charm. . . .
— Ed Conroy in the San Antonio Express-News (1987)
An outstanding success. . . . The staging is simple but compelling, and the
use of folklore and mythology as the substance of children's plays is a theatrical
coup, serving several cultures and audiences simultaneously. And Milligan's
quiet humor adds the twinkle to make it more fun than didactic.
— John Igo in the North San Antonio Times (1987)
On the Songwriter
Recent Music Videos
podcast of an interview with Bryce, together with a reading and a few songs
I was sitting there in the shop listening to this guy play songs like I'd never heard before – and I hear a lot of talented songwriters here. Of course, I'd listen to almost anyone playing a 1938 Martin, but this was a whole different
order – songs that were so damned real, with intricate finger picking and the most poetic lyrics you can imagine. I dropped everything and said, 'Dude, I've got to be your lead player.'
— Thomas Shilts, Senior Luthier, Alamo Music Co. (2002)
"The first work by Bryce Milligan I read was Working the Stone in the mid-1990s. I was moved then by the lyricism of his language, his aesthetic commitment, and the honesty of of his political stance. Subsequently, I have read more of his work, heard him read his poetry, heard him sing songs he has written, and heard him play musical instruments – Milligan is a true bard-poet, in short a troubador."
—Sudeep Sen, publisher of Aark Arts, author of Postmarked
On the Literary Activist:
More than any individual I can think of, Mr. Milligan has been intensely active
and supremely successful in fostering both a public awareness and involvement
in the humanities in Texas. . . . There are many notable people I have seen
and known who have passed through the literary rhythms of our state. Some
have been remarkable in terms of energy and quality of vision. Mr. Milligan,
however, stands out above those noble figures for several reasons: the fine
quality of his work and the genuine effectiveness of his efforts.
— Prof. James Hoggard, past Poet Laureate of Texas
and president of the Texas Institute of Letters
No male scholar in this country has done so much for Latina writers as has
Bryce Milligan. His support for us — in newspaper articles, book reviews,
scholarly articles, community activism and publishing — began thirty
years ago. The very first review of my own book, The House on Mango Street,
to appear in a major newspaper came from Milligan's typewriter. I cannot
even express to you how far ahead of the curve he was in recognizing the importance
of that slim volume. Consider that he single-handedly created the first annual
academic conference dedicated to Latina literature Ð and he didn't even
work at a university. His anthologies have proven to be of ground-breaking
importance. His assistance to younger Latina writers over the years has shown
a depth of commitment that has earned him a level of trust we do not usually
accord to mainstream males.
— Sandra Cisneros, novelist, poet, MacArthur Fellow
On the Teacher:
Milligan is a writer, scholar, editor, and teacher who bridges the gap between
them. Entirely a Texas original, we're very lucky to have him. Our students
found him alternately personable, thoughtful, funny, and brilliant.
– Thea Temple, Executive Director, The Writer's Garret, Dallas,
Books By Bryce Milligan
- Historical Fiction for Young Adults
Si! - A Collection of Latina Poetry (Penguin, 1997)
This Promiscuous Light: Young Women Poets of San Antonio (Wings
- Corazón del Norte: Writing by North Texas Latinos (Wings Press
& Bath House Cultural Center, 1996)
- Daughters of the Fifth Sun: A Collection of Latina Fiction and
Poetry (Putnam/Riverhead Books, 1995, 1996)
- American Journeys: The Hispanic American Experience (Primary
Source Media, CD ROM, 1995)
- Linking Roots: Writing by Six Women of Diverse Ethnic Origins
(M&A Editions, 1993)
- And the Ground Spoke: Poems and Stories by Cecilio Garcia-Camarillo,
Joy Harjo, E.A. Mares, and Jim Sagel (Guadalupe Cultural Arts Center,