These traits, I've come to realize, go together, where observation has evolved to the point that we were situationally multilingual, able to speak several vernaculars, meaning always at least doubled, filling the form while tunneling under the wall.

"[2] In 1980, Hunt received a BA in English from San Francisco State University, where she studied poetry with Kathleen Fraser and Michael Palmer.

During her time in the Bay Area in the late 1970s and early 1980s, Hunt was an active part of the poetry scene, particularly the group of so-called Language poets who held readings at The Grand Piano, a coffeehouse at 1607 Haight Street in San Francisco.

[4] In 1981, Hunt moved back to New York City, carrying with her the energy and taste for public talks and social gatherings about poetry so endemic to the San Francisco area scene.

[5] After moving back to New York, Hunt quickly became immersed in the avant garde jazz scene and thought she might do music writing for a living.

"[6] With the filmmakers Abigail Child and Henry Hill and the dancer Sally Silvers, Hunt restored an abandoned building into an artists' living, studio and performance space.

[7] Her best known work, Arcade (1996), is a collaboration with the visual artist Alison Saar that engages such issues as women’s self-image, race in the media, surrealism, love, city life, and loss, all through an experimental poetic that allows the reader to see the vocabularies that convey and thus shape these themes.

Poetic engagement with politics should, Hunt writes in the same panel, produce not pronouncements of policy positions but "poetry that extends beyond the boundaries of the self, to the open question of the possible, the construction of a society that promotes the ‘best’ (free, democratic, just, flexibly dialectic, etc.)