As a mature nomad poet, Hedwig has shifted her writing from performance poetry, a genre she named as part of efforts to revive an interest in poetry by the masses with her radio band work. Since popularization of poetry has been accomplished with the progression of spoken word genres like slam, the "original performance poet" is now free to restore the gravitas and ethos of these sorts of postmodernized forms. This shift could be due in part to the doctorate in creative writing received after her successful career as a performance poet during the 1980s and avant-gardist in the 1970s. She is a certified leader in bridging the best of both worlds, popular and academic: "I write for books and media with a modernist attachment to the great achievements of the past along with an inherited love for the working class and farmers. I am a futurist in the early 20th century sense, like Mayakovsky, along with the contemporary expanded version that sees technological advancement progressing our society like a science fiction novel.” Her catchphrase for 2011 is “I’m a bridge. Use it.”

Intoxication: Heathcliff on Powell Street (Slough Press, 2006), Polish Gypsy With Ghost (Shinebone Press, 1998), Slow Paradise (Shinebone Press, 1998), Snatches of the Visible Unreal (Back Yard Press, 1990)

Hispanic American Literature Encyclopedia (Facts On File, 2007)

Art Mag 29, Karawane, Poetry Repair Shop

Borders Books - Houston, TX (2008), Polish American Historical Association, Annual Meeting - Washington, DC (2008), Cafe Krzystofore, Krakow, Poland (2004), Thirteen Donuts Radio Drama, KRVS-FM (2000), Audio: Intellectual Love (Perfection Productions) (1990), KUT-FM Radio, Austin, Texas (1986), Maple Leaf Club, New Orleans (1984), Jack Kerouac School of Disembodied Poetics, Naropa Institute (1983), Huntington Art Gallery, University of Texas at Austin (1977)