Among other things, Daniel has been the lead singer/lyricist for the indie rock band Mining for Rain, a respected community activist and organizer in the labor movement, and a poetry book reviewer for NewPages.com. He is also an ordained Deacon in the United Methodist Church.
His many poems have been published widely in literary journals and magazines, both online and in print, in Australia, the UK, and the United States, including: The Australia Times, Blue Collar Review, Colorado Life Magazine, Journal of South Texas English Studies, Nomos Journal, The Penwood Review, Think Journal, VerseWrights, and Wayfarer: a journal of contemplative literature.
He has a BA (cum laude) in Religion Studies with a minor in Theater Arts from the College of Santa Fe and a Master of Divinity degree (summa cum laude) with a justice and peace studies concentration from the Iliff School of Theology in Denver. He is a member of the Colorado Poets Center and the Academy of American Poets.
A personal note about my own Ars Poetica: “Ars Poetica” simply means “the art of poetry” and while I am a very ecumenical reader and lover of all kinds of poetry and verse (from the ultra-traditional to the experimental), I would characterize my own style as a kind of half-assed formalism. Which is just to say that while I am by no means a master of traditional poetic forms like my friend A.E. Stallings, I do naturally gravitate toward writing poems with a recognized (or at least irregularly repeating) rhyme pattern and/or poems that appear “formal” on the page. But all my poems are driven primarily by an obsession with musicality and rhythm. It’s the cadence of a line of writing that haunts me first in my head and usually leads to a full-fledged poem. In other words: I hear poems in my inner ear first…before I ever write them down. So while I have dabbled in classic poetic forms like the villanelle (and my children’s poems are often more strictly metered than my poems for adults) I do tend to find my stride in a looser blend of rhyming free verse that flirts with established meter but doesn’t quite marry it. One of my publishers, Karen Kelsay, has said that my poetry for adults is most often “a subtle blend of free verse with meter that turns out to be different and intriguing. I don’t often see poets who can use a variety of line lengths, and veer that far away from a strict iambic verse, and still make it all hang together so nicely.”