was a senior fellow in the Michigan Society of Fellows from 1996 to 2000. She remained at University of Michigan until 2002, when she returned to Ithaca as the Ann S. Bowers Distinguished Professor of English at Cornell University. In 2011 she received an American Academy of Arts and Letters Award in Literature. The Library of Congress awarded Fulton the Rebekah Johnson Bobbitt Award in 2002. In 2004 she was the Holloway Lecturer in the Practice of Poetry at University of California, Berkeley, and in 2010 she was the George Elliston Poet at University of Cincinnati. She has also been a visiting professor at University of California, Los Angeles, University of Virginia, Charlottesville, and a number of other universities. Works 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. Cascade Experiment ... 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 Cohen Alice Fulton has suggested that poetry is a "model of the way the world works". Her poetry has been described as "intricately crafted, yet expansive — even majestic — in its scope and vision. One senses there is something startling about to be revealed in these poems, and indeed that mystery or tension often resolves in powerful acts of linguistic reckoning, as if a piece of psychological origami were unfolding before our eyes." The editors of Twentieth-Century American Poetry 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.'" In his introduction to Fulton's first book, Dance Script With Electric Ballerina, W. D. Snodgrass reads Fulton's poetry as a rare example of logopoeia ("the dance of the intellect among words") and writes that "we are always engaged by ... the sense of linguistic virtuosity