marginal annotations by (and in) several different hands. Not since Coleridge's "The Rime of the Ancient Mariner" has a long poem presented the reader with so remarkable an example of this particular phenomenon." Fulton has often referred to Walt Whitman's "I am large, I contain multitudes" as a guiding principle for postmodern verse. David Baker, in reference to the multiplicity of experience evident in Powers Of Congress, wrote that "Fulton is embarked on a project to redefine or recreate poetry according to the multiforms of experience and intellect, rather than to shape experience by modeling it on a received poetic vision." For Larissa Szporluk, Fulton's "truly phenomenal poetics leave me where I've never been, changing the rules of the game of poetry completely." Lawrence Joseph instructs Fulton's reader to "expect a vision of American society — its technological, sexual, class, and religious relationships and context — embodied in language conscientiously intelligent and physical." Commenting on how Fulton's treatment of the "real world is never treated only as an exercise in 'realism'" British poet Rodney Pybus notes the "blessedly unpredictable and unconventional" nature of her use of "psychic and social turmoil." David Barber argues that Fulton's "expansiveness" of subject is realized in "poems that binge not just on language but on lexicons and argots, poems that lift their riffs not only from the deep wells of the American vernacular but from the streamlined vaults of newfangled technology and scientific determinism." Powers of Congress contains many examples of her signature use of polyphony and word superclusters which Fulton has described in interviews and in a 1990 essay on her own poetics, "To Organize A Waterfall." Sensual Math 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." Stephen Yenser remarked, "Hers is a maximalist poetry, exploding beyond its boundaries." Many critics have praised the aural dimension of Fulton's poetry. Writing about Sensual Math, Larissa