others" (as Palmer has characterized the poetry of Myung Mi Kim). Collaborations Palmer has published translations from French, Russian and Brazilian Portuguese, and has engaged in multiple collaborations with painters. These include the German painter Gerhard Richter, French painter Micaëla Henich, and Italian painter Sandro Chia. He edited and helped translate Nothing The Sun Could Not Explain: Twenty Contemporary Brazilian Poets (Sun & Moon Press, 1997). With Michael Molnar and John High, Palmer helped edit and translate a volume of poetry by the Russian poet Alexei Parshchikov, Blue Vitriol (Avec Books, 1994). He also translated "Theory of Tables" (1994), a book written by Emmanuel Hocquard, a project that grew out of Hocquard's translations of Palmer's "Baudelaire Series" into French. Palmer has written many radio plays and works of criticism. But his lasting significance occurs as the singular concerns of the artist extend into the aleatory, the multiple, and the collaborative. Dance For more than thirty years he has collaborated on over a dozen dance works with Margaret Jenkins and her Dance Company. Early dance scenarios in which Palmer participated include Interferences, 1975; Equal Time, 1976; No One but Whitington, 1978; Red, Yellow, Blue, 1980, Straight Words, 1980; Versions by Turns, 1980; Cortland Set, 1982; and First Figure, 1984. A particularly noteworthy example of a recent Jenkins/Palmer collaboration would be The Gates (Far Away Near), an evening-length dance work in which Palmer worked with not only Ms. Jenkins, but also Paul Dresher and Rinde Eckert. This was performed in September 1993 in the San Francisco Bay Area and in July 1994 at New York's Lincoln Center. Another recent collaboration with Jenkins resulted in "Danger Orange", a 45-minute outdoor site-specific performance, presented in October 2004 before the Presidential elections. The color orange metaphorically references the national alert systems that are in place that evoke the sense of danger.[see also:Homeland Security Advisory System] Painters and visual artists Similar to his friendship with Robert Duncan and the painter Jess Collins, Palmer's work with painter Irving Petlin remains generative. Irving's singular influence from the beginning demonstrated for Palmer a "working" of the poet as "maker" (in the radical sense, even ancient sense of that word). Along with Duncan, Zukofsky, and others, Petlin's work modeled, demonstrated, circumscribed and, perhaps most importantly for Palmer, verified that "the way" (this way for the artist who is a maker, a creator) would also be, as Gilles Deleuze termed it,