THYLIAS MOSS's most recent volume is Tokyo Butter, a collection of poems written during the gestation of Limited Fork Poetics, her theory of interacting language systems. In this sense, Tokyo Butter though arriving in 2006 (from Persea) arrives as artifact; its content reveals the history of LFP, not its current status. For if it did, it would not contain "poems"; following Tokyo Butter, she has not written "poems"; instead, makes Poams (boundary products of an act of making) and poams (contained products of an act of making), and these boundary and contained products are both boundary and bounded at the same time until reaching some Uber limit at each irreducible and unexpandable end. Not that these Uber limits are reachable or real (even within the imagination). Before this (what she considers "welcomed" and "invited") upheaval in her work, she published nine other books including: Slave Moth: A Narrative in Verse (Persea Books, 2004; a Village Voice best book of 2004), the memoir, Tale of a Sky-blue Dress (William Morrow, 1998), and the poetry collections: Last Chance for the Tarzan Holler (Persea Books, 1997; finalist for the National Book Critics Circle Award), Small Congregations: New and Selected Poems (Ecco, 1993), Rainbow Remnants in Rock Bottom Ghetto Sky (Persea, 1991; winner of the 1991 National Poetry Series Open Competition and of the Ohioana Book Award), Pyramid of Bone (University of Virginia, 1989; finalist for the National Book Critic's Circle Award), and Hosiery Seams on a Bowlegged Woman (Cleveland State University, 1983; finalist for the Best of the Great Lakes First Book Prize). A 1996 Fellow of the MacArthur Foundation and a recipient of a Whiting Writer's Award, she has also received grants from, among others, the Guggenheim Foundation, the National Endowment for the Arts, and the Kenan Charitable Trust.