Books
_____. (1981). Volvox, San Diego: Atticus Press.
_____. (1981). Radix Zero, San Diego: Atticus Press.
_____, et al. (1983). El Libro de Caló: Pachuco Slang Dictionary. San Diego: Atticus Press.
Polkinhorn, Harry. (1983). Travelling With Women, San Diego: Atticus Press.
_____. (1985). Anaesthesia, R. Kostelanetz, “Introduction.” New York: Textile Bridge Press.
_____. (1987). Mexican/American Border Literature: Short Stories, H. Polkinhorn, et al., eds. Mexicali, B.C./Calexico, CA: Binational Press.
_____. (1987). Corrosive Signs, C. Espinosa, ed.; H.Polkinhorn, trans. from Spanish. Washington, D. C.: Maisonneuve Press, 1990. (originally published in Mexico City in 1987).
_____, et al., eds. (1987). Literatura de Frontera Mexico/Estados Unidos / Mexican/American Border Writing: Proceedings of the First Conference of Writers from the Californias. Mexicali, B.C.: Dirección de Asuntos Culturales.
_____, ed. (1987). Border Literature/Literatura Fronteriza: A Binational Conference. San Diego: Institute for Regional Studies of the Californias, Border Studies Series, 1.
_____. (1987). de fuego radio, Boulazac: Tuyau (France).
_____. (1988). Jerome Rothenberg: A Descriptive Bibliography. Jefferson, North Carolina: McFarland.
_____. (1988). Summary Dissolution, Port Charlotte, Florida: Runaway Spoon Press.
_____. (1988). “Introduction.” Post-Art: International Exhibition of Visual/Experimental Poetry, H. Polkinhorn, ed. Calexico, CA: San Diego State University.
_____, et al., eds. (1988). The Line: Essays on Mexican/American Border Literature. Mexicali, B.C./Calexico, CA: Binational Press.
_____, et al., eds. (1989). Border Literature: Proceedings of the Border Literature Conference (Tijuana, June-July, 1988). Mexicali/San Diego: Institute for Regional Studies of the Californias/ Culture Institute of Baja California.
Polkinhorn, Harry. (1989). Lorenia La Rosa: A Travelogue. Mexicali: Institute of Culture (Mexico).
_____. (1989). The Illusion of Reality: An Interview with Dick Higgins. Oakland: Score Publications.
_____. (1990). Latinoamerican Experimental Poetry, C. Padín; H. Polkinhorn, trans. from Spanish. Montevideo: Clemente Padín (Uruguay).
_____, et al., eds. (1990). Borderlands Literature: Towards an Integrated Perspective. Mexicali, B.C./ San Diego, CA: XIII Ayuntamiento de Mexicali/Institute for Regional Studies of the Californias.
_____, et al., eds. (1991). Visual Arts on the U.S./Mexican Border. Mexicali, B.C./Calexico, CA: Binational Press, 1991.
_____, et al., eds. (1991). Visual Arts on the U.S./Mexican Border. Mexicali, B.C./Calexico, CA: Binational Press, 1991.
_____, et al., eds. (1993). Bodies Beyond Borders: Dance on the U.S.-Mexico Border. H. Polkinhorn, trans. from Spanish. Mexicali, B.C./Calexico, CA: Binational Press.
_____, et al., eds. (1993). Open Signs: Language and Society on the U.S.-Mexico Border. Mexicali, B.C./Calexico, CA: Binational Press.
_____, et al., eds. (1993). The Flight of the Eagle: Poetry on the U.S.-Mexico Border. H. Polkinhorn, trans. from Spanish. Mexicali, B.C./Calexico, CA: Binational Press.
_____. (1993). Nailed to the Wound, J. M. di Bella; H. Polkinhorn, trans. from Spanish. San Diego: SDSU Press.
_____. (1994). The Border: The Future of Postmodernity, S. Gomez Montero; H. Polkinhorn, trans. from Spanish. San Diego: SDSU Press.
_____. (1994). Visual Poetry: An International Anthology, H. Polkinhorn, ed., trans. from Portuguese, Italian, Spanish. Providence, Rhode Island: Visible Language.
_____. (1995). Teraphim. Port Charlotte, Flodrida: Runaway Spoon Press.
_____. (1995). San Diego State University: A History in Word & Image, R. Starr; H. Polkinhorn, ed. San Diego: SDSU Press.
_____. (1995). Poetics and Visuality: A Trajectory of Contemporary Brazilian Poetry, P. Menezes; H. Polkinhorn, trans. from Portuguese. San Diego: SDSU Press, 1995.
_____. (1996). Mount Soledad. New York: Left Hand Books.
_____. (1997). Seeing Power: Politics of Visual Writing. www.grist.light&dust.
_____. (1997). Voyage to the End of the Word, R. Barilli; H. Polkinhorn and T. Fiore, trans. from Italian. San Diego: SDSU Press.
_____. (1997). Art for Life: Latin American Art in Our Time, C. Padin; H. Polkinhorn, trans. from Spanish. www.grist.light&dust.
_____. (1997). Throat Shadow. San Francisco: 3300 Press.
_____. (1999). Tayet’s Bandages. Wisconsin: Standing Stones Press.
_____. (1999). Blue Shift. San Francisco: Ex Nihilo Press.
_____, and M. Weiss, eds. (2002). Across the Line / Al Otro Lado: The Poetry of Baja California, trans. from Spanish. San Diego: Junction Press.
_____. (2003). Raven. www.muse-apprentice-guild.com. 2004 MAG award for Best Literary Fiction by an Established Author, for Raven, Parts I and II. http://www.muse-apprentice guild.com/summer_2004/introduction. html
_____, et al., eds. (2005). Big Birthday Book: A Festschrift for Richard Kostelanetz’s 60th (or 65th) Year. New York: Libros de Barba.
Polkinhorn, Harry. (2006). Here Is Tijuana. F. Montezemolo, et al, eds. London: Black Dog Publishing. Trans. from Spanish.
_____. (2008, 1986). Bridges of Skin Money. Re-edition. West Lima, WI: Xexoxial Editions.
_____. (2010). The Circle of Willis. San Diego: Ex Press, 2010.
_____. (2010). Trauma. San Diego: Ex Press, 2010.
_____, and R. Claytor. (2011). Autobiographical Conversations. East Lansing, MI: Elephant Eater Comics.
Polkinhorn, Harry, and A. Velasco. (2011). Caló: Dictionary of Barrio and Border Slang. New York: Junction Press.
Polkinhorn, Harry. (2011). Demos Oneiron. New York: Junction Press, 2011.
_____. (2011). Analysis. San Diego: Ex Press.
_____. (2012). The River. San Diego: Ex Press.
_____, ed. (2013). The Technique and Practice of Psychoanalysis, 3: The Ralph R. Greenson Training Seminars. Ralph R. Greenson. Ed. 7 volumes. San Diego: San Diego State University Press.
_____, ed. (2014). The Technique and Practice of Psychoanalysis, 4: The Ralph R. Greenson Training Seminars. Ralph R. Greenson. Ed. 7 volumes. San Diego San Diego State University Press.
_____. (2014). Raven. San Diego: Ex Press.
_____. (2014). Proteron Hysteron. San Diego: Ex Press.
_____. (2014). Osteomyelitis. San Diego: Ex Press.
Articles, reviews
Polkinhorn, Harry. (1983). “Art & People & Power.” Co-op Communiqué.
_____. (1984). Excerpts from El Libro de Caló, Spanish Today, 17:3.
_____. (1984). “Beat: Burroughs & Kerouac.” Moody Street Irregulars: A Jack Kerouac Newsletter, 14.
_____. (1985). Excerpt from El Libro de Caló, in Spanish Today, 18:2.
_____. (1986). “The 6 O’clock News.” PhotoStatic, 21, 647-53.
_____. (1986). “City Lights: Heart of the Beat.” Moody Street Irregulars: A Jack Kerouac Newsletter, 16/17, 34-36.
_____. (1986). “Mail Art.” Smile, 63, 7-8 (Germany).
_____. (1986). “Jerome Rothenberg: El Lenguaje como Herramienta para Vivir,” trans. M. Armenta. El Oficio, 4, Secretaría de Educación y Bienestar Social, Dirección de Asuntos Culturales, Estado de Baja California, México.
_____. (1986). “Poesía de Estados Unidos: Más Allá de la Palabra.” Unomásuno, Mar 22, p. 6 (Mexico).
_____. (1986). “The Visual Poem.” Score, 7.
_____. (1987). “On Original Sin and Absolution.” PhotoStatic, 25/26, 823-26.
_____. (1987). “The Image Speaks.” Tempus Fugit, 5, 127 (Belgium).
_____. (1987). “Politics of the Program.” American Book Review, 9:3, 17-18.
_____. (1987). “Untying the Not: Karl Kempton’s Visual Writing.” Access: A Journal of Post-Literature, 1, 5-12.
_____. (1987). “Talk Show.” Afterimage, 14:9, 16-17.
_____. (1987). “Hysteria.” American Imago, 44:1, 1-14.
_____. (1987). “Public and Private.” Rampike, 5:3, 51 (Canada).
_____. (1988). “Visual Writing and Contemporary Culture: Excerpts from an Interview with Harry Polkinhorn.” T. Hibbard, Generator, 3, 35-40.
_____. (1988). “Seeing Power: Politics of Visual Writing.” Central Park, 14, 145-49.
_____. (1988). “Alambrada: Hacia una Teoría de la Escritura Fronteriza.” El Mexicano, 538, suplemento cultural, 4-5 (Mexico).
_____. (1988). “On Late 60s Experimental Fiction.” Letter. Northwest Review, 26, 2, 6-7.
_____. (1988). “Privado y Público.” El Oficio, 7, 65-68 (Mexico).
_____. (1988). Review. “William S. Burroughs.” Moody Street Irregulars, 18/19, 30-32.
_____. (1988). “Mythologies.” Afterimage, 15, 6, 18-19.
_____. (1988). “The Failure of a Postmodern Aesthetic.” Poetics Journal, 7, 63-70.
_____. (1989). “On Difficulty in Verbal Visual Art.” PhotoStatic, 40, 1501-03.
_____. (1989). “City Lights: El Corazón Beat.” Inventario, 5, 1-2 (Mexico).
_____. (1989). “La Vanguardia Mexicana.” El Universal, Oct. 17, (Mexico).
_____. (1989). “Autopista de Sueños: Ruben G. Benavides.” Tintas, 1, 91-92 (Mexico).
_____. (1989). “Notes on Typography.” Central Park, 15, 127-32.
_____. (1989). “The Mexican Avant-Garde.” Score, 10, 11.
______. (1990). Review of Word Cultures, R. Lydenberg. Fiction International, 19:1, 190-94.
_____. (1990). “Experimentalismo Latinoamericano.” Trazadura: Revista de Arte y Cultura del XIII Ayuntamiento de Mexicali, 2, 88-98 (Mexico).
_____. (1990). “Long-Distance Fiction: Teleconferencing in the English Department.” Computing Digest, San Diego State University, 7.
_____. (1990). “El Avant-Garde Mexicano.” En Común: Publicación de los Trabajadores de la Información, 12 (Mexico).
_____. (1990). “The Anti-Machine from Dead Time.” NRG, 31.
_____. (1991). “From Book to Antibook.” Visible Language, 25:2/3, 139-50.
_____. (1991). “Bastard in the Family: The Impact of Cubo-Futurist Book Art on Structural Linguistics.” Visible Language, 25:1, 88-109.
_____. (1991). “The Last Decade: III International Biennial of Visual/Experimental Poetry.” Central Park, 19/20, 318-20.
_____. (1991). Review of The Volcanoes from Puebla, K. Gangemi. Central Park, 19/20, 323-24.
_____. (1991). “Gender Event.” American Book Review, 13:4, 10.
_____. (1991). “Mail Art.” Retrofuturism Quarterly, 15, 1715.
_____. (1991). “The Mexican Avant-Garde.” Sequoya, 5:1, 19-20.
_____. (1991). “Visual Poetry in Latin America.” Innovations 1. Maple City, MI: Innovations Press, pp. 180-84.
_____. (1992). “La Frontera como un Paradigma de Diferencia: El Caso México-E.U.A.” La Zafra, 1:3, 4-8 (Mexico).
_____. (1992). “Maquilaciones: Ascenso y Caída de la Era Industrial.” Trazadura, 5, 104-5 (Mexico).
_____. (1992), “Ex Libris: Experimental Poetry in California.” Writers’ Forum, 18, 18-33.
_____. (1992). “Open Field of Magical Energies.” American Book Review, 14:33, 30.
_____. (1992). “Ex Libris: Experimental Poetry in California,” published in Russian translation in Literatura Da Khelovneba (Literature and Art), autumn (Russia).
_____. (1993). “Object with No Interior.” American Book Review, 14:6, 9, 13.
_____. (1994). Review of Three Blondes and Death, Y. Tarnawsky. American Book Review, 16:3, 26.
_____. (1994). “Portuguese Silent Cinema,” J. de Matos-Cruz, H. Polkinhorn, trans. from Portuguese. The Silent Film Newsletter, 2:6, 91-2.
_____. (1994). Review of Spoken Text, A. Knowles. Taproot Reviews, 4, 26-27.
_____. (1994). “Semiotic Poem: The Beginning of the End of the Word in Latin American Poetry,” C. Padin, H. Polkinhorn trans. from Spanish. Montevideo: Author’s publication (Uruguay).
_____. (1994). “Latin American Experimental Poetry,” C. Padin, H. Polkinhorn, trans. from Spanish. Montevideo: Author’s publication (Uruguay).
_____. (1995). “Intersign Poetry: Poems for Illiterates,” P. Menezes, H. Polkinhorn, trans. from Portuguese. Fiction International, 28, 116-29.
_____. (1995). “Interview with Philadelpho Menezes.” Fiction International, 28, 130-44.
_____. (1995). Review of Left Hand Books publications. Witz, 3:2, 8 ff.
_____. (1996). “Hyperotics: Towards a Theory of Experimental Poetry.” Experimental, Visual, Concrete: Avant-Garde Poetry since the 1960s. K. D. Jackson, et al., eds. Amsterdam: Rodolpi, pp. 211-15.
_____. (1996). “Copy Culture.” Glossalalia.
_____. (1997). Review of Poesia Sonora: Do fonetismo às poéticas contemporâneas da voz (CD recording), (June 1997). Suplemento, Secretaria de Estado da Cultura de Minas Gerais, 26, 14 (Brazil).
_____. (1997). “Al Borde de la Locura,” Semillero: Revista de ciencias sociales, 5:17, 4-9 (Mexico).
_____. (1999). “Manifiesto a la Negatividad,” La Crónica, 5D. Trans. B. Padilla Maltos (Mexico).
_____. (1999). “Beyond the Page: Brazilian Poetry since Modernism,” Poetics Today 19:4, 581-95.
_____. (2000). Review of Coyote Speaks: Creative Strategies for Psychotherapists Treating Alcoholics and Addicts, J. Rutzky. (2000). The California Therapist, 12:5, 52.
_____. (2000). “From Book to Antibook,” http://www.thing.net/~grist/ lnd/hp-book.htm .
_____. (2000). Review of Celebrating Soul: Preparing for the New Religion, L. Jaffe. (2000). The San Francisco Jung Institute Library Journal, 73, 69-72.
_____. (2000). “Paradigm Lost,” review of Readings, S. Birkerts. (2000). American Book Review, 28.
_____. (2000). Review of Coyote Speaks: Creative Strategies for Psychotherapists Treating Alcoholics and Addicts, J. Rutzky. (2000). The California Therapist, 12:1, 38-39.
_____. (2001). “True Heritage: The Sound Image in Experimental Poetry.” Visible Language, 35:1, 12-19.
_____. (2001). Review of The Eternal Drama: The Inner Meaning of Greek Mythology, E. F. Edinger. (2001). Mythosphere, 2:2, 241-42.
_____. (2001). Review of The Myth of Meaning in the Work of C. G. Jung. Mythosphere, 2:2, 251-53.
_____. Review of The Jewel in the Wound, R.-E. Rothenberg.
www.cgjungpage.org/articles/rothenberg.html
_____. Review of The Myth of Meaning in the Work of C. G. Jung, A. Jaffe. http://www.cgjungpage.org/jparticles.html.
_____. Review of Celebrating Soul: Preparing for the New Religion, L. Jaffe. http://www.cgjungpage.org/jparticles.html.
_____. (2004). “The Visual Manuscripts of August Highland.” http:// www.generatorpress.com/pages/22/index.htm.
_____. (2004). “The Visual Manuscripts of August Highland,” http://www.progettobabele.it/autori/augusthighland2.php.
_____. (2004). “The Visual Manuscripts of August Highland,” http://www.fas.harvard.edu/~dudley/fellows/lit/2004-5/visual_art_ august_highland.pdf
_____. (2005). “The Visual Manuscripts of August Highland,” Kritikos, 2.
_____. (2009). Review of Poems for the Millennium, 3, and Poetics and Polemics, J. Rothenberg. http://www.raintaxi.com/online/ 2009summer/ index.shtml
_____. (2009). Review of two books by J. Rothenberg. http://nctimes.com/articles/2009/03/02/books/doc49ab2c8c14d6e902645856.txt
_____. (2011). “Mini-essay,” http://tipoftheknife.blogspot.com/2011/01/tip-of-knife-issue-3.html
_____. “Untying the Knot: Karl Kempton’s Visual Writing.” http://www.scribd.com/doc/230706315/ACCESS-A-Journal-of-Post-Literature. Reprint of 1987 publication.
_____. (2015). “Psychoanalysis Reaches Out As Well As In.” San Diego Psychologist, 30:1, 16-17.
Articles, Reviews, Introductions in Edited Volumes
_____. (1972). “T.S. Eliot’s Reaction to Matthew Arnold.” Matthew Arnold: Man of Letters. Monograph Series. University Microfilm Publishers: Ann Arbor.
_____. (1987). “Introduction.” Atollments, G. Beining. Iowa City: PhotoStatic Books, 1987.
_____. (1988). “Introduction.” Piecemeal, I, G. Beining. Port Charlotte, Florida: Runaway Spoon Press.
_____. (1988). “Introduction.” Piecemeal, II, G. Beining. Port Charlotte, Florida: Runaway Spoon Press.
_____. (1988). “Chain Link: Towards a Theory of Border Writing.” The Line: Essays on Mexican/American Border Literature. Mexicali, B.C./Calexico, CA: Binational Press.
_____. (1989). “Concluding Thoughts.” Piecemeal, Part Eight, G. Beining. Port Charlotte, Florida: Runaway Spoon Press.
_____. (1989). “Remembering to Forget.” Perspectives on Perception: Philosophy, Art, and Literature, M. A. Caws, ed. New York: Peter Lang, pp. 123-38.
_____. (1989). “Space Craft: Collage Discourse.” Collage: Critical Views, K. Hoffman, ed. Ann Arbor: UMI Research Press, pp. 213-24.
_____. (1990). “Gnosis: Clemente Padín's Signographics and Texts.” Signographics and Texts, C. Padín. Madison, Wisconsin: Xexoxial Editions.
_____. (1991). “The Gyroscope and the Junk Heap: Ideological Consequences of Latin American Experimentalism.” Image and Ideology in Modern/PostModern Discourse, D. B. Downing, and S. Bazargan, eds. Albany: State University of New York Press, pp. 181-98.
_____. (1991). “Introduction: Art on the Edge.” Visual Arts on the U.S./Mexican Border. Calexico, CA/Mexicali, Baja California: Binational Press, pp. 13-18.
_____. (1991). “Introduction.” Richard Kostelanetz. Fields/Pitches/Turfs/Arenas. Port Charlotte, Florida: Runaway Spoon Press.
_____. (1992). Review of The Flood, S.-P. Martin. The Flood. Port Charlotte, Florida: Runaway Spoon Press, np.
_____. (1992). “Review.” Shadow Architecture at the Crossroads 19X, P. Zelevansky, and The Flood, S.-P. Martin. Fiction International, 21, 205-08.
_____. (1992). “Introduction.” Equations, J. Berry. Port Charlotte, Florida: Runaway Spoon Press.
_____. (1993). “Interview.” Core: A Symposium on Contemporary Visual Poetry, J. Byrum, and C. Hill, eds. Mentor, Ohio/Mill Valley, California: Generatorscore Press, pp. 122-24.
_____. (1994). “Poesía Visual: Una Introducción” and “Poesía Visual de los Estados Unidos.” Poexia Vixual, 5-6, 15-16.
_____. (1994). “Across the Line: An Essay on Border Essays.” Literature Fronteriza: De Acá y de Allá. Hermosillo, Sonora: Instituto Sonorense de Cultura, 147-58 (Mexico).
_____. (1994). “Le Poème Visuelle.” Anthologie de la Poésie Visuelle en Amérique du Nord. Berguette,: Station Underground d’Emerveillement Littéraire, np (France).
_____. (1995). “Manifesto of Negativity.” Auñur, 9.
_____. (1995). “Brief Presentation of Experimental Uruguayan Poetry,” C. Padín, H. Polkinhorn, trans. from Spanish. Montevideo: Author’s publication (Uruguay).
_____. (1996). “Contemporary Experimental Poetry in the United States.” Face: Revista de semiótica e comunicação, 5:1,148-69 (Brazil).
_____. (2003). “Orgasm Manifesto.” Fiction International, 35, 95-99.
_____. (2007). “SMA: O Artista como Cidadão de um Mundo Público Secreto,” Sérgio Monteiro de Almeida. Curitiba: Edição do autor, 2007, p. 9 (Brazil).
Texts, Photographs, Graphics
Polkinhorn, Harry. (1980). “Preface,” photographs. La Fuente, San Diego: Campanile Press.
_____. (1980). Photographs. Humanities Network, 4:1.
_____. (1980). Poem. Burnt Siena, 3.
_____. (1980). Photograph. Maize, 3:3-4.
_____. (1980). Poems. Glyph, 1:1.
_____. (1981). “Introduction,” photographs. La Fuente, San Diego: Campanile Press.
_____. (1981). Poems. Burnt Siena, 4.
_____. (1981). Cover design, drawings. Maize, 4:3-4.
_____. (1981). Photograph. El Ultimo Vuelo, 3.
_____. (1982). Cover design, Maize, 5:1-2.
_____. (1982). Photograph, La Prensa, 6.
_____. (1983). Poems. B. Brecht. Trans. H. Polkinhorn from German. Co-op Communiqué.
_____. (1983). Poem. Lost and Found Times, 13/14.
_____. (1983). Photograph. AFL-CIO news release. Washington, D.C.
_____. (1983). Photograph. SDSU Report.
_____. (1984). From “Talk Meat.” Inkblot, 3.
_____. (1985). From “Talk Meat.” Inkblot, 4.
_____. (1985). Poems. Score, 5.
_____. (1985). Cover design. Crítica: A Journal of Critical Essays, San Diego: University of California.
_____. (1985). From “Idiomas.” Inkblot, 5.
_____. (1985). From “Talk Meat.” Métier.
_____. (1985). From “What Touches Love Is Secret.” ALEA, 1.
_____. (1986). From “Talk Meat.” Inkblot, 6.
_____. (1986). From letters, and from “Noch Heimat.” NRG, 25/26.
_____. (1986). “A Man,” and poems. Tempus Fugit, 3, 13-21 (Belgium).
_____. (1986). “Banking.” Alea, 2.
_____. (1986). Poem. Velocity.
_____. (1986). Poems. Smile, 46, 43-7 (Germany).
_____. (1986). Back cover. La Linea Quebrada, 1.
_____. (1986). Poem, and back cover. Industrial Sabotage, 36 (Canada).
_____. (1986). Poem. Kaldron, 20.
_____. (1986). Poems. Sink, 2.
_____. (1987). Poems. La Poire d’Angoisse, 109 (France).
_____. (1987). Poems. Tempus Fugit, 4 (Belgium).
_____. (1987). Photographic essay. Lector Mexican American Writers. Oakland: Floricanto Press.
_____. (1987). Poems. Wasteside Development. Tempe, Arizona: Bomb Shelter Props, 16-17.
_____. (1987). Poem. Gold Dust: A Journal of Contemporary Poetry.
_____. (1987). Poems. Malthus, 2.
_____. (1987). Photograph. La Linea Quebrada, 2.
_____. (1987). Poems. PhotoStatic, 23.
_____. (1987). Poems. Howling Dog, 3:1, 14-15.
_____. (1987). Poems, and trans. of poem from Spanish. Assembling, 13.1.
_____. (1987). Poems. Doc(k)s, 80 (France).
_____. (1987). Poem. 1.o Festival Internacional de Poesia Viva. Figueira da Foz: Museu Municipal Dr. Santos Roch, exhibition catalogue (Portugal).
_____. (1987). Poem. Segunda Bienal Internacional de Poesía Visual y Alternativa en Mexico—1987-1988. Veracruz: Universidad Veracruzana/Galeria Ramon Alva de la Canal; exhibition catalogue (Mexico).
_____. (1987). Poems. Tempus Fugit, 5,16-20 (Belgium).
_____. (1987). Poem. PhotoStatic, 25/26, 802.
_____. (1987). Poems. Interstate, 18, 16, 25, 40.
_____. (1987). Poem. Alea.
_____. (1987). Photographs, from Travelling With Women. In Mexicali: Escenarios y Personajes, Mexicali: UABC, pp. 272, 311, 317 (Mexico).
_____. (1987). Poems. Lost and Found Times, 21/22.
_____. (1987). From “Blood of the Baboso,” with M. Creedon. Caliban, 3, 69-70.
_____. (1987). Poems. Assembling, 13.2.
_____. (1987). “Do You Feel the Savage Paradise?” S. Gomez de Montero. H. Polkinhorn, trans. from Spanish. Melquiades, 5, 37-43.
_____. (1988). Poem. Malthus, 3.
_____. (1988). Poem. Mexican/American Border Writing, Mexicali: Gobierno del Estado de Baja California/San Diego State University.
_____. (1988). Poems. Wasteside Development. Seattle: Bomb Shelter Propaganda.
_____. (1988). Cover. Zyzzyva, 4:1.
_____. (1988). Text. Artifact Collective Texts, 1.
_____. (1988). Poems, essay. Tempus Fugit, 6, 122-29, 158-64 (Belgium).
_____. (1988). Poem. Generator, 2, 50.
_____. (1988). Poem. Galerie Postale (France).
_____. (1988). From “Antitextos.” El Oficio, 7, 25-26 (Mexico).
_____. (1988). Poems. The Fiction Review, 2:2.
_____. (1988). From “C-Section.” Tempus Fugit, 7, 101-06 (Belgium).
_____. (1988). “Anti-Texts.” MaLLife, 16, 19.
_____. (1988). Poem, Red Lines Magazine, 9.
_____. (1988). Poems, “Public and Private,” and “Mail Art.” Poesie Peacedream Project, G. Deisler, ed. (Germany).
_____. (1988). Poem. Paper Radio, 5, 8.
_____. (1988). Poem. Poesia: Outras Escritas, Novos Suportes. Setúbal: Museu de Setúbal (Portugal).
_____. (1988). Poem. (S)crap, 6, 6.
_____. (1988). “Codex Veröld.” Le Depli Amoureux, 12-14. Trans. into French L. Suel (France).
_____. (1988). Poems. Central Park, 14, 150-51.
_____. (1989). Cover and Poems. Melquiades VI.
_____. (1989). Poem. El Djarida (Norway).
_____. (1989). Poem. I International Exhibition of Visual Poetry of Sao Paulo. Sao Paulo: Centro Cultural of Sao Paulo, p. 56 (Brazil).
_____. (1989). Poems. Tempus Fugit, 9, 106-15 (Belgium).
_____. (1989). Text. El Djarida (Norway).
_____. (1989). Text. Malcontent, 20.
_____. (1989). Poem. Polaritz Etzeztz, 1.
_____. (1989). Text. Malthus, 4.
_____. (1989). Photographs. Tintas, 1 (Mexico).
_____. (1989). Poem. Mallife, 17, 17.
_____. (1989). Poem. “Multimedia: Who’s Thumbing Whose Nose?” P. J. Gutierrez. Prisma, 76, 59 (Cuba).
_____. (1990). “Consumimur Igni.” En la Línea de Fuego: Relatos Policiacos de Frontera, L. S. Quiroz, ed. Mexico City: Fondo Editorial Tierra Adentro, pp. 117-29 (Mexico).
_____. (1990). Poem. Novel Approach: A Coincidental Mail Art Assemblage. Wheaton, Illinois/Madison, Wisconsin: Plaster Cramp Press/Xexoxial Editions, p. 8.
_____. (1990). Photograph. Industrial Sabotage, 50 (Canada).
_____. (1990). Poem. Kaldron, 21/22.
_____. (1990). Poem. Peacedream-Project 9, Uni/verse(;): Visual and Experimental Poetry Portfolio. Germany: Guillermo Deisler.
_____. (1990). “Wayne/Infante: Conversación Póstuma entre Dos Estrellas,” with J. A. Di-Bella. Trazadura: Revista de Arte y Cultura del XIII Ayuntamiento de Mexicali, 2, 88-98 (Mexico).
_____. (1990). “Wayne/Infante: Conversación Póstuma entre Dos Estrellas,” with J. A. Di-Bella. En Comun: Publicación de los Trabajadores de la Información, 13 (Mexico).
_____. (1990). Poem . Text Xmectica. Ohio: Burning Press.
_____. (1990). Poem. Rampike, 30-31 (Canada).
_____. (1990). Text. Noospaper.
_____. (1991). From “XXXXX.” Offerta Speziale Cin Cin, 4:8, 36-39; Italian trans. A. Vitacchio (Italy).
_____. (1991). “Series Theory.” The Seer in the Weird. Florence, Alabama: 9th Street Laboratories, 1.
_____. (1991). Poem. Buried Tongue, First Incarnation: Duchamp, G. R. Beining, and G. Huth, eds. Schenectady, New York: dbqp.
_____. (1991). Poems. Sequoya, 1:5.
_____. (1991). Poem. Peacedream-Project 10, Uni/verse(;): Visual and Experimental Poetry Portfolio. Germany: Guillermo Deisler.
_____. (1991). “Sub-Zero.” Black Ice, 7, 38-42.
_____. (1992). “KWI.” The ?WHY? Project. Portland: Anabasis.
_____. (1992). “XXXXX” (parts III and IV). Offerta Speciale, 5:10, 48-50; Italian translations by A. Vitacchio (Italy).
_____. (1992). “The Periodic Table.” Indefinite Space, 1:2, 20-23.
_____. (1992). Text. Transmog, 5, 7.
_____. (1992). Poem. Un Camino de Hallazgos: Poetas Bajacalifornianos del Siglo Veinte, Vol. 2, Mexicali, Baja California: UABC Press, pp. 142-45 (Mexico).
_____. (1992). “Introduction, poem, excerpts from letters. Co-Lingua.
_____. (1992). Excerpt from Sub-Zero. Modom, 12.
_____. (1993). “Jacob's Ladder.” The Lover Project. Portland: Anabasis.
_____. (1993). “Kwi.” The Experioddicist, 8.
_____. (1993). Poem. Transmog 11.
_____. (1993). Poem. The Order of Things, Toronto: Workscene Gallery (Canada).
_____. (1993). Excerpt from “Mama Vomit.” The Imploding Tie-Dyed Toupe, 1, 5.
_____. (1993). “Apuntes acerca de la Tipografía.” Trazadura, 6, 53-57. Trans. J. A. di Bella (Mexico).
_____. (1993). Excerpt from Sub-Zero. The Experiodicist, 2.
_____. (1993). “Consumimur Igni.” Avant-Pop: Fiction for a Daydream Nation, L. McCaffery, ed. Boulder, Colorado: Black Ice Books, pp. 185-98.
_____. (1994). Participation in The Exquisite Cadaver: A Semi-Automatic Novel. San Diego: Portmanteau Press, 1994.
_____. (1994). Text. Transmog 15.
_____. (1994). “Who Killed Umberto Eco?” Fiction International 26, 97-124.
_____. (1994). Photographs. Semillero: Revista de Ciencias Sociales. Universidad Autónoma de Baja California (Mexico).
_____. (1994). “Monte Soledad.” Yubai: Revista de Humanidades, 2:7, 38-43. Trans. M. Flores (Mexico).
_____. (1994). Poem. MOHS, 2 (France).
_____. (1994). Poems. Anthologie de la Poésie Visuelle en Amérique du Nord. Berguette: Station Underground d’Emerveillement Littéraire (France).
_____. (1995). Excerpt from “Liquor of Darkness.” Juxta, 3.
_____. (1995). Excerpt from Proteron Hysteron. The Experioddicist, 10.
_____. (1995). Excerpt from “Money Shadows.” El Djarida, 12, 44 (Norway).
_____. (1995). Poem. Catálogo da produção poética ímpressa nos anos 90. Rio de Janeiro: Blocos-Jornal Cultural (Brazil).
_____. (1995). Excerpt from Proteron Hysteron. The Experioddicist, 9.
_____. (1995). “Mainstream/Otherstream.” Central Park, 24, 107-08.
_____. (1995). “Network Culture: Hypothesis for an Empirically Derived Cyberotics.” Black Ice, 11/12, 43-45.
_____. (1995). Excerpt from Proteron Hysteron. The Experioddicist, 8.
_____. (1995). “Manifesto of Negativity.” W'orcs/Aloud Allowed, 10:2.
_____. (1995). “whatever fire touches it changes forever.” Sipapu, 50, 23.
_____. (1995). The Experioddicist, H. Polkinhorn issue.
_____. (1996). Poem. Blocos, V, 29, 9 (Brazil).
_____. (1996). Excerpt from Sub-Zero. 33 Review, 2, 82-83.
_____. (1996). “Consumimur Igni.” Line of Fire: Detective Stories from the Mexican Border, L. S. Quiroz, ed. San Diego: SDSU Press, pp. 80-90.
_____. (1996). Poem. Blocos, V, 27, 4 (Brazil).
_____. (1996). Excerpt from “Picturing Mu.” The Vision Project 3.
_____. (1996). “Excreta II.” Juxta Electronic, 8.
_____. (1996). Excerpt from Proteron Hysteron. The Experioddicist, 11.
_____. (1996). Poem. Score 1*3 Into the new series, 53.
_____. (1997). Excerpt from Untitled. The Experioddicist 17.
_____. (1997). “Blues Boys Norteña Style.” T. de Bella. H. Polkinhorn, trans. from Spanish. Juxta 5/7.
_____. (1997). Excerpt from Untitled. The Experioddicist, 16.
_____. (1998). Poems. Cedar Hill Review, 35-37.
_____. (1998). Untitled. Rampike, 9:2, 56-59 (Canada).
_____. (1998). Poems. Thunder Sandwich, 4.
_____. (1998) Poem. www.geocities.com/SoHo/Cafe/7475/.
_____. (1998). Excerpt from Untitled, The Experioddicist 19.
_____. (1998). “Sea Voyage.” The Attic, 1, 5.
_____. (1998). “Stein,” excerpt from Proteron Hysteron. Disturbed Guillotine, 3, 85-86.
_____. (1998). Untitled. The Experioddicist 18.
_____. (1999). “Consumimur Igni.” Avant-Pop: Racconti per una Nazione Che Sogna a Occhi Aperti, L. McCaffery ed. Milan: Shake Edizione (Italy).
_____. (1999). “Inorganic Fiction.” Juxta 9.
_____. (1999). Untitled. Trope, 5.
_____. (1999). Poem. www.webdelsol.com/5_trope.
_____. (2000). “Untitled.” Rampike, 11:1 Twentieth Anniversary Issue II, 24-28 (Canada).
_____. (2000). Poems. Indefinite Space, 9, 4-7.
_____. (2000-2001). “A Tentative Answer to the First Question.” Alchemy on Sunday, 4, 9.
_____. (2001). Poems. Score, 16, 44.
_____. (2001). Selections from Teraphim, in Writing to Be Seen: An Anthology of Later 20th Century Visio-Textual Art, Vol. I, B. Grumman, and C. Hill, eds. Florida/Wisconsin: Light & Dust, pp. 249-72.
_____. (2002). Poems. Reversible Monuments: Contemporary Mexican Poetry, ed. by M. de al Torre, and M. Wiegers. H. Polkinhorn, trans. from Spanish of poems by H. Yépez. Port Townsend, Washington: Copper Canyon Press, 2002, pp. 625-28
_____. (2003). “untitled.” The Left-Hand Sideshow: A Literary Diversion. Kingston, New York: Left Hand Books, pp. 39-47.
_____. (2003). excerpt from Raven, “600 Writers.” www.muse-apprentice-guild.com.
_____. (2003). Introduction, creative text, www.muse-apprentice-guild.com.
_____. (2004). excerpt from Raven, http://www.theminimag.com/june04/harrypolkinhorn.html.
_____. (2005). “For Jackson Mac Low, In Memoriam.” http://www.lichtensteiger.de/stories02.html. Jan. 5.
_____. (2007). From Al margen indomable (fragments), L. C. Bargalló. H. Polkinhorn, and M. Weiss, trans. from Spanish. Poetry International, 11, 157-58.
_____. (2009). “Vater Pound.” The Whole Island: Six Decades of Cuban Poetry, ed. M. Weiss. H. Polkinhorn, trans. from Spanish of a poem by R. Saunders. Berkeley: University of California Press, 2009, pp. 462-69.
_____. (2009). “Cartilage.” Zyzzyva, textimage issue, 110.
_____. (2010). Poems. The Candidate Connection: Newsletter of the ApsaA Affiliate Council, 12:2, 3.
_____. (2011). Poem. The Candidate Connection: Newsletter of the ApsaA Affiliate Council, 13:1, 3.
_____. (2011). Poem. The Candidate Connection: Newsletter of the ApsaA Affiliate Council, 13:1, 3.
_____. (2012). Poems. A Celebration of Visions & Affiliations: A California Literary Time Line: Poets & Poetry 1940-2005, J. Foley. Berkeley: Pantograph Press, 2012.
_____. (2012). Poem. San Diego Psychoanalytic Society and Institute Newsletter, 10, 5.
Audio
Polkinhorn, Harry. (1988). Piece in Concatenations, PhonoStatic, 8 (cassette).
_____. (1988). Piece in Artifact Collective Audio. Experimental Audio Directions/Abscond (cassette).
_____. (1989). Piece in Anomaly. Experimental Audio Directions/ Abscond (cassette).
_____. (1990). Piece in Scrap(e). Phoenix: Plutonium Press (cassette).
_____. (1990). Piece in Lost & Found Times (cassette).
_____. (1990). California-Italy Sound Poetry, H. Polkinhorn, coeditor of LP. Cento, 3VeTri (includes 2 pieces) (Italy).
_____. (1990). Phonon. Florence, Alabama: Experimental Audio Directions (cassette).
_____. (1991). Piece in Anomaly 3. 9th St. Laboratories, EAD 015 (cassette).
_____. (1992). 3 pieces in Interpretazioni Sonore di Poesia. Paté de Voix, 7. (cassette) (Italy).
_____. (1992). Piece in Anomaly 4. Florence, Alabama: Experimental Audio Directions (cassette).
_____. (1992). 1 piece in Voci Ispano-Portoghesi: Antologia polipoetica, Indagine sull'oralità. Reggio Emilia: Edizioni Elytra, Baobab 22 (boxed cassette set) (Italy).
_____. (1994). Featured on “Poesia Sonora,” Radio Cultura FM, São Paulo, Sep. 29 (Brazil).
_____. (1998). 1 piece and introductory text on “Sound Poetry Today/Poesia Sonora Hoje: An International Anthology,” P. Menezes, ed. PUC-SP, São Paulo (Brazil).