ACKNOWLEDGMENTS

I would like to thank Professor Harrison T. Meserole for teaching me how to edit a piece of literary work. He showed me how punctuation can be used as a literary tool. His patience tailored my spirit, and his spirit has shown me the wisdom of patience: knowing when a piece of work is "complete." Preface [Listen] is the poem that resulted from an independent study with Dr. Meserole.

A tremendous influence, playwright Charles Gordone has opened my eyes to dialogue, listening for beats in language, and how to contextualize characterization with words--stated and unstated.

I would also like to extend my gratitude to poet Lamont B. Steptoe [Listen , 8MB: Painted Bride Art Center]. He is the person who introduced me to the literary scene in Philadelphia and New York. He was the person who told me how necessary open readings are to the development of a poet. "The Poetic Bar" [Listen] <explicit> was influenced by the several open readings I attended due to Lamont's persistent insistence. I thank Lamont for introducing me to diverse group of contemporary poets, in particular Miguel Algarin [Listen: Nuyorican Poets Café] <explicit>, Bob Holman [Listen: Heckle Slam], and Steve Cannon. I have learned from these poets a manner of presenting my poetry literally.

A special thanks to Kathryn Hixson, New Art Examiner, Glenn Harper and ART PAPERS, for showing me how to hone my art criticism skills and for providing a forum for Philadelphia artists to have their work reviewed. My deepest appreciation to K-C Bajai, Kollage Magazine, for allowing me to pursue my interests.

I would like to extend a warm thanks to Professor Walter Hoelbling, Karl-Franzens-Universitaet, Graz, Austria.  It was he who granted me access to the Fourth Conference of the International Society for the Study of European Ideas. With that gesture, Professor Hoelbling provided me with the confidence to present my work to an international audience.

Lastly, I would like to acknowledge the influence of Gertrude Stein--from her attitude and style of writing, I have learned to trust my ear and my mind when putting my voice onto the page. I would be remise not to acknowledge R .D. Laing and his book, The Politics of Experience.