Miki is well-known in Canadian literary circles for his poetry, criticism, and editorial work. His 2001 book of poetry, Surrender, won the Governor General's Literary Award for poetry. His other volumes of poetry are Saving Face: Poems Selected 1976-1988 (1991), Random Access File (1995), There (2006), and Mannequin Rising (2011). His poetry experimentally examines questions of identity, race, citizenship, and place. Critically, Miki is the author of the influential study Broken Entries: Race, Subjectivity, Writing (1998), which examines the three terms in its subtitle in a Canadian context. He is also the author of the critical works In Flux: Transnational Shifts in Asian Canadian Writing (2011), The Prepoetics of William Carlos Williams (1983), and an annotated bibliography of the poet and novelist George Bowering (1990).
As an editor, Miki founded the journal (see Literary Periodicals) Line in 1983, which merged with West Coast Review in 1990 to create the critical-literary journal West Coast Line. Miki has co-edited a critical book on bp Nichol as well as Muriel Kitigawa's This Is My Own: Letters to Wes and Other Writings on Japanese-Canadians (1985), Pacific Windows: The Collected Poems of Roy Kiyooka (1997), Meanwhile: The Critical Writings of bp Nichol (2002), and, with Smaro Kamboureli, the book Trans.Can.Lit: Resituating the Study of Canadian Literature (2007).
In his activist work, Miki is noted as a strong advocate for those who face racial inequities. He was heavily involved in the Redress Movement, which sought equity for Japanese Canadians who were forcibly uprooted from the West Coast during the Second World War. Miki's book, in collaboration with Cassandra Kobayashi, Justice in Our Time: The Japanese Canadian Redress Settlement (1991) documents this successful movement. Miki was also an organizer of the controversial conference Writing Thru Race (1994), held in Vancouver. This conference's decision to offer a space for writers of colour and Aboriginal writers to discuss common issues without the presence of white writers prompted criticism from some. In all of his work, Miki continues to be an advocate for equity, particularly for racialized Canadians.