| Preface to the Third Edition |
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xxxiii | |
| Acknowledgments |
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xxxix | |
| Introduction |
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xliii | |
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Charles Olson (1910--1970) |
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1 | (14) |
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3 | (1) |
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4 | (2) |
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6 | (9) |
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I, Maximus of Gloucester, to You |
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6 | (3) |
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9 | (2) |
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Maximus, to Gloucester, Letter 19 (A Pastoral Letter |
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11 | (1) |
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Maximus to Gloucester, Letter 27 [Withheld] |
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12 | (2) |
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14 | (1) |
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Elizabeth Bishop (1911--1979) |
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15 | (30) |
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17 | (1) |
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18 | (1) |
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19 | (2) |
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21 | (2) |
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23 | (3) |
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26 | (2) |
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Over 2000 Illustrations and a Complete Concordance |
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28 | (2) |
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30 | (1) |
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31 | (1) |
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32 | (2) |
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34 | (2) |
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36 | (4) |
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40 | (1) |
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41 | (2) |
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43 | (1) |
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44 | (1) |
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45 | (7) |
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46 | (1) |
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46 | (2) |
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48 | (1) |
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Unconscious Came a Beauty |
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49 | (1) |
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Staring at the Sea on the Day of the Death of Another |
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49 | (1) |
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50 | (1) |
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50 | (1) |
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51 | (1) |
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Robert Hayden (1913--1980) |
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52 | (16) |
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54 | (5) |
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Homage to the Empress of the Blues |
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59 | (1) |
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Mourning Poem for the Queen of Sunday |
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59 | (1) |
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60 | (2) |
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62 | (1) |
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Night, Death, Mississippi |
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62 | (2) |
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Elegies for Paradise Valley |
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64 | (3) |
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67 | (1) |
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Karl Shapiro (1913--2000) |
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68 | (4) |
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69 | (1) |
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70 | (1) |
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71 | (1) |
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71 | (1) |
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Delmore Schwartz (1913--1966) |
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72 | (3) |
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In the Naked Bed, in Plato's Cave |
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73 | (1) |
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The Heavy Bear Who Goes with Me |
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74 | (1) |
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The Mind Is an Ancient and Famous Capital |
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74 | (1) |
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Muriel Rukeyser (1913--1980) |
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75 | (8) |
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76 | (3) |
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76 | (2) |
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78 | (1) |
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Boy with His Hair Cut Short |
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79 | (1) |
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80 | (1) |
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The Conjugation of the Paramecium |
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80 | (2) |
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82 | (1) |
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82 | (1) |
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William Stafford (1914--1993) |
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83 | (2) |
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Traveling through the Dark |
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83 | (1) |
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84 | (1) |
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For the Grave of Daniel Boone |
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84 | (1) |
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Randall Jarrell (1914--1965) |
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85 | (7) |
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86 | (1) |
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The Death of the Ball Turret Gunner |
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87 | (1) |
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87 | (1) |
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88 | (2) |
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Thinking of the Lost World |
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90 | (2) |
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John Berryman (1914--1972) |
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92 | (9) |
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93 | (7) |
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1 (``Huffy Henry hid the day'') |
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93 | (1) |
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4 (``Filling her compact & delicious body'') |
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94 | |
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14 (``Life, friends, is boring. We must not say so.'') |
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14 | (81) |
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29 (``There sat down, once, a thing on Henry's heart'') |
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95 | (1) |
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37 Three around the Old Gentleman |
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95 | (1) |
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96 | (1) |
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145 (``Also I love him: me he's done no wrong'') |
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97 | (1) |
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149 (``This world is gradually becoming a place'') |
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97 | (1) |
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153 (``I'm cross with god who has wrecked this generation.'') |
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98 | (1) |
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98 | (1) |
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312 (``I have moved to Dublin to have it out with you'') |
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99 | (1) |
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384 (``The marker slants, flowerless, day's almost done'') |
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100 | (1) |
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100 | (1) |
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Dylan Thomas (1914--1953) |
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101 | (10) |
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The Force That through the Green Fuse Drives the Flower |
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102 | (1) |
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And Death Shall Have No Dominion |
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103 | (1) |
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The Hand That Signed the Paper |
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103 | (1) |
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When All My Five and Country Senses See |
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104 | (1) |
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104 | (1) |
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The Hunchback in the Park |
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105 | (1) |
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106 | (1) |
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A Refusal to Mourn the Death, by Fire, of a Child in London |
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107 | (1) |
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108 | (2) |
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In My Craft or Sullen Art |
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110 | (1) |
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Do Not Go Gentle into That Good Night |
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110 | (1) |
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Judith Wright (1915--2000) |
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111 | (4) |
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112 | (1) |
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112 | (1) |
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113 | (1) |
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113 | (1) |
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114 | (1) |
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114 | (1) |
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115 | (4) |
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116 | (1) |
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117 | (1) |
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Deaf-Mute in the Pear Tree |
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118 | (1) |
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Robert Lowell (1917--1977) |
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119 | (21) |
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The Quaker Graveyard in Nantucket |
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121 | (4) |
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After the Surprising Conversions |
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125 | (1) |
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126 | (1) |
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127 | (2) |
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129 | (1) |
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Memories of West Street and Lepke |
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130 | (2) |
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``To Speak of Woe That Is in Marriage'' |
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132 | (1) |
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132 | (2) |
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134 | (2) |
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Waking Early Sunday Morning |
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136 | (2) |
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138 | (1) |
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139 | (1) |
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139 | (1) |
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Gwendolyn Brooks (1917--2000) |
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140 | (10) |
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141 | (1) |
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142 | (1) |
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Of De Witt Williams on His Way to Lincoln Cemetery |
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143 | (1) |
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143 | (1) |
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144 | (1) |
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144 | (1) |
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145 | (1) |
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The Last Quatrain of the Ballad of Emmett Till |
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145 | (1) |
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145 | (1) |
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146 | (2) |
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148 | (2) |
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Robert Duncan (1919--1988) |
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150 | (8) |
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Often I Am Permitted to Return to a Meadow |
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151 | (1) |
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152 | (1) |
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153 | (1) |
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153 | (1) |
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154 | (2) |
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156 | (1) |
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156 | (1) |
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II (``Something is taking place.'') |
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156 | (1) |
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157 | (1) |
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William Meredith (b. 1919) |
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158 | (4) |
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159 | (1) |
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160 | (1) |
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161 | (1) |
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Lawrence Ferlinghetti (b. 1919) |
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162 | (5) |
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[In Goya's Greatest Scenes We Seem to See] |
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163 | (1) |
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164 | (2) |
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Retired Ballerinas, Central Park West |
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166 | (1) |
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167 | (11) |
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168 | (1) |
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169 | (1) |
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170 | (2) |
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172 | (1) |
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173 | (1) |
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174 | (1) |
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175 | (2) |
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177 | (1) |
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Howard Nemerov (1920--1991) |
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178 | (5) |
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179 | (1) |
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180 | (1) |
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181 | (1) |
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181 | (1) |
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Reading Pornography in Old Age |
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182 | (1) |
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Amy Clampitt (1920--1994) |
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183 | (13) |
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184 | (1) |
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185 | (1) |
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A Procession at Candlemas |
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186 | (4) |
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190 | (3) |
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193 | (1) |
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194 | (2) |
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196 | (6) |
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196 | (1) |
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197 | (1) |
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197 | (1) |
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Love Calls Us to the Things of This World |
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198 | (1) |
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199 | (1) |
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200 | (1) |
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201 | (1) |
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201 | (1) |
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Kingsley Amis (1922--1995) |
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202 | (3) |
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202 | (1) |
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203 | (1) |
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204 | (1) |
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Donald Davie (1922--1995) |
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205 | (5) |
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206 | (1) |
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207 | (1) |
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208 | (1) |
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209 | (1) |
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(``The things he has been spared . . .'') |
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209 | (1) |
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(``Time and again he gave battle'') |
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209 | (1) |
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Philip Larkin (1922--1985) |
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210 | (17) |
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211 | (1) |
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212 | (1) |
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212 | (2) |
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214 | (1) |
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215 | (2) |
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217 | (1) |
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218 | (1) |
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218 | (1) |
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219 | (1) |
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220 | (1) |
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220 | (1) |
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221 | (1) |
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221 | (1) |
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222 | (1) |
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223 | (1) |
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223 | (1) |
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224 | (1) |
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224 | (2) |
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226 | (1) |
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227 | (7) |
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228 | (1) |
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229 | (1) |
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``It Out-Herods Herod. Pray You, Avoid It.'' |
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230 | (1) |
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231 | (2) |
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233 | (1) |
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James Dickey (1923--1997) |
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234 | (6) |
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235 | (1) |
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236 | (1) |
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237 | (1) |
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238 | (2) |
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240 | (3) |
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240 | (1) |
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241 | (1) |
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242 | (1) |
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Internal Migration: On Being on Tour |
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242 | (1) |
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For Euthanasia and Pain-Killing Drugs |
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243 | (1) |
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243 | (4) |
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224 | (21) |
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My Father in the Night Commanding No |
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245 | (1) |
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246 | (1) |
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246 | (1) |
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Denise Levertov (1923--1997) |
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247 | (9) |
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248 | (1) |
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249 | (1) |
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249 | (1) |
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250 | (1) |
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250 | (1) |
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251 | (2) |
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i (``By the gas-fire, kneeling'') |
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251 | (1) |
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iv (``On your hospital bed you lay'') |
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252 | (1) |
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vi (``Your eyes were the brown gold of pebbles under water.'') |
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252 | (1) |
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253 | (1) |
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254 | (1) |
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255 | (1) |
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255 | (1) |
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255 | (1) |
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Richard Hugo (1923--1982) |
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256 | (5) |
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The Lady in Kicking Horse Reservoir |
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257 | (1) |
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Degrees of Gray in Philipsburg |
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258 | (1) |
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259 | (2) |
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Kenneth Koch (1925--2002) |
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261 | (8) |
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261 | (1) |
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262 | (2) |
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264 | (1) |
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265 | (2) |
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265 | (2) |
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One Train May Hide Another |
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267 | (1) |
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268 | (1) |
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269 | (5) |
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270 | (1) |
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Our Ground Time Here Will Be Brief |
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270 | (1) |
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271 | (2) |
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273 | (1) |
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274 | (1) |
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(``Your laugh, your scarves, the gloss of your makeup'') |
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274 | (1) |
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274 | (6) |
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On the Death of Friends in Childhood |
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275 | (1) |
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275 | (1) |
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276 | (1) |
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The Tourist from Syracuse |
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276 | (1) |
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277 | (1) |
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Variations on a Text by Vallejo |
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278 | (1) |
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In Memory of the Unknown Poet, Robert Boardman Vaughn |
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279 | (1) |
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Nostalgia and Complaint of the Grandparents |
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279 | (1) |
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W. D. Snodgrass (b. 1926) |
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280 | (8) |
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281 | (2) |
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283 | (2) |
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3 (``The child between them on the street'') |
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283 | (1) |
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8 (``I thumped on you the best I could'') |
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284 | (1) |
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285 | (3) |
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A. R. Ammons (1926--2001) |
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288 | (17) |
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290 | (1) |
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290 | (3) |
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293 | (1) |
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294 | (1) |
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295 | (1) |
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295 | (1) |
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295 | (1) |
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296 | (2) |
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298 | (1) |
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299 | (1) |
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1 (``the chisel, chipping in'') |
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299 | (1) |
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11 (``the grooves fill with moss'') |
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299 | (1) |
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19 (``the things of earth are not objects'') |
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299 | (1) |
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299 | (1) |
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300 | (1) |
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300 | (4) |
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2 (``garbage has to be the poem of our time because'') |
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300 | (4) |
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304 | (1) |
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43 (``sometimes I get the feeling I've never'') |
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304 | (1) |
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James Merrill (1926--1995) |
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305 | (20) |
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307 | (2) |
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309 | (2) |
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311 | (2) |
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313 | (5) |
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The Changing Light at Sandover |
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318 | (2) |
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318 | (1) |
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318 | (2) |
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320 | (1) |
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Self-Portrait in Tyvek(™) Windbreaker |
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320 | (4) |
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324 | (1) |
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325 | (9) |
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326 | (1) |
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327 | (1) |
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327 | (3) |
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330 | (1) |
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330 | (2) |
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``I Keep to Myself Such Measures . . .'' |
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332 | (1) |
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333 | (1) |
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333 | (1) |
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333 | (1) |
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[The Long Road of It All] |
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333 | (1) |
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334 | (1) |
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Allen Ginsberg (1926--1997) |
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334 | (24) |
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337 | (7) |
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A Supermarket in California |
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344 | (1) |
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345 | (2) |
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347 | (2) |
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349 | (3) |
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352 | (1) |
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353 | (1) |
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354 | (3) |
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357 | (1) |
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357 | (1) |
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358 | (3) |
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358 | (1) |
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Elegy for a Forest Clear-Cut by the Weyerhaeuser Company |
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359 | (1) |
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A Young Girl with a Pitcher Full of Water |
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360 | (1) |
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360 | (1) |
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361 | (9) |
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Poem (``The eager note on my door said 'Call me'') |
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362 | (1) |
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Poem (``At night Chinamen jump'') |
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363 | (1) |
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363 | (2) |
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365 | (1) |
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366 | (1) |
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A True Account of Talking to the Sun at Fire Island |
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367 | (2) |
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369 | (1) |
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370 | (1) |
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370 | (5) |
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Johnson's Cabinet Watched by Ants |
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371 | (1) |
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372 | (1) |
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373 | (1) |
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Kneeling Down to Peer into a Culvert |
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374 | (1) |
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375 | (1) |
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Charles Tomlinson (b. 1927) |
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375 | (6) |
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376 | (1) |
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377 | (1) |
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Two Views of Two Ghost Towns |
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378 | (1) |
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379 | (1) |
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380 | (1) |
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381 | (3) |
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382 | (1) |
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After Making Love We Hear Footsteps |
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382 | (1) |
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383 | (1) |
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Sheffield Ghazal 4: Driving West |
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384 | (1) |
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384 | (24) |
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386 | (1) |
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387 | (2) |
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389 | (1) |
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390 | (1) |
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391 | (2) |
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Farm Implements and Rutabagas in a Landscape |
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393 | (1) |
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As One Put Drunk into the Packet-Boat |
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394 | (1) |
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Self-Portrait in a Convex Mirror |
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395 | (11) |
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406 | (1) |
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407 | (1) |
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407 | (1) |
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408 | (1) |
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408 | (6) |
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410 | (1) |
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411 | (1) |
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411 | (1) |
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For the Anniversary of My Death |
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412 | (1) |
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412 | (1) |
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413 | (1) |
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414 | (1) |
|
James Wright (1927--1980) |
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414 | (8) |
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416 | (1) |
|
Autumn Begins in Martins Ferry, Ohio |
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416 | (1) |
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Lying in a Hammock at William Duffy's Farm in Pine Island, Minnesota |
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417 | (1) |
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417 | (1) |
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418 | (2) |
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In Response to a Rumor That the Oldest Whorehouse in Wheeling, West Virginia, Has Been Condemned |
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420 | (1) |
|
Small Frogs Killed on the Highway |
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420 | (1) |
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A Centenary Ode: Inscribed to Little Crow, Leader of the Sioux Rebellion in Minnesota, 1862 |
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421 | (1) |
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422 | (5) |
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423 | (1) |
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424 | (1) |
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424 | (2) |
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426 | (1) |
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Thomas Kinsella (b. 1928) |
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427 | (4) |
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427 | (2) |
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429 | (1) |
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429 | (1) |
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430 | (1) |
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1 (``A character, indistinct, entered'') |
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430 | (1) |
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431 | (7) |
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432 | (1) |
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433 | (1) |
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433 | (2) |
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435 | (1) |
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435 | (1) |
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435 | (1) |
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436 | (1) |
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436 | (1) |
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437 | (1) |
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A. K. Ramanujan (1929--1993) |
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438 | (11) |
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439 | (1) |
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440 | (2) |
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442 | (1) |
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442 | (2) |
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444 | (2) |
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446 | (1) |
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447 | (2) |
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449 | (7) |
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``Man Who Beat Up Homosexuals Reported to Have AIDS Virus'' |
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449 | (6) |
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455 | (1) |
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456 | (28) |
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459 | (1) |
|
Snapshots of a Daughter-in-Law |
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459 | (4) |
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463 | (1) |
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464 | (1) |
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465 | (1) |
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A Valediction Forbidding Mourning |
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466 | (1) |
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467 | (2) |
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469 | (1) |
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470 | (9) |
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479 | (2) |
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481 | (2) |
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483 | (1) |
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484 | (6) |
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485 | (1) |
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485 | (1) |
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486 | (1) |
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487 | (1) |
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488 | (1) |
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489 | (1) |
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490 | (4) |
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490 | (1) |
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491 | (1) |
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492 | (1) |
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492 | (1) |
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493 | (1) |
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494 | (40) |
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496 | (1) |
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497 | (3) |
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500 | (2) |
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502 | (12) |
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514 | (5) |
|
The Season of Phantasmal Peace |
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519 | (1) |
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520 | (14) |
|
(`` 'This is how, one sunrise, we cut down them canoes.''') |
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520 | (2) |
|
(`` 'Mais qui ca qui rivait-'ous, Philoctete?''') |
|
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522 | (1) |
|
(``The Cyclone, howling because one of the lances'') |
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523 | (3) |
|
(`` `Walk me down to the wharf.''') |
|
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526 | (2) |
|
(``He remembered this sunburnt river with its spindly'') |
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528 | (3) |
|
(``She bathed him in the brew of the root. The basin'') |
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531 | (2) |
|
(``I sang of quiet Achille, Afolabe's son'') |
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533 | (1) |
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534 | (8) |
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536 | (1) |
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537 | (1) |
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537 | (1) |
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538 | (1) |
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539 | (1) |
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539 | (2) |
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541 | (1) |
|
Kamau Brathwaite (b. 1930) |
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542 | (13) |
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544 | (7) |
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544 | (4) |
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548 | (1) |
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549 | (2) |
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551 | (1) |
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551 | (3) |
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554 | (1) |
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Christopher Okigbo (1930?--1967) |
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555 | (3) |
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556 | (2) |
|
[Before You, Mother Idoto] |
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556 | (1) |
|
[Dark Waters of the Beginning.] |
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556 | (1) |
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557 | (1) |
|
[I Am Standing above the Noontide] |
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557 | (1) |
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558 | (1) |
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558 | (13) |
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559 | (2) |
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561 | (1) |
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561 | (1) |
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562 | (2) |
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564 | (1) |
|
Second Glance at a Jaguar |
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564 | (1) |
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565 | (1) |
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566 | (1) |
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567 | (1) |
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568 | (1) |
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569 | (1) |
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569 | (1) |
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570 | (1) |
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570 | (1) |
|
Okot p'Bitek (1931--1982) |
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571 | (10) |
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573 | (8) |
|
1. My Husband's Tongue Is Bitter |
|
|
573 | (2) |
|
2. The Woman with Whom I Share My Husband |
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575 | (6) |
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581 | (12) |
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582 | (1) |
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583 | (1) |
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584 | (1) |
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584 | (1) |
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585 | (1) |
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6 (``My little son, when you could command marvels'') |
|
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585 | (1) |
|
8 (``Not as we are but as we must appear'') |
|
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585 | (1) |
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586 | (5) |
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586 | (1) |
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587 | (1) |
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588 | (1) |
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589 | (1) |
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590 | (1) |
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|
590 | (1) |
|
The Mystery of the Charity of Charles Peguy |
|
|
591 | (1) |
|
1 (``Crack of a starting-pistol. Jean Jaures'') |
|
|
591 | (1) |
|
To the High Court of Parliament |
|
|
592 | (1) |
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|
592 | (1) |
|
CXXI (``So what is faith if it is not'') |
|
|
592 | (1) |
|
Sylvia Plath (1932--1963) |
|
|
593 | (22) |
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595 | (2) |
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597 | (1) |
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597 | (1) |
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598 | (1) |
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599 | (1) |
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600 | (2) |
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602 | (1) |
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|
602 | (2) |
|
The Arrival of the Bee Box |
|
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604 | (1) |
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605 | (1) |
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606 | (2) |
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608 | (1) |
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609 | (2) |
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611 | (1) |
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611 | (1) |
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612 | (2) |
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614 | (1) |
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|
615 | (5) |
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|
616 | (1) |
|
Now that I Am Forever with Child |
|
|
617 | (1) |
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|
617 | (1) |
|
From the House of Yemanja |
|
|
618 | (1) |
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619 | (1) |
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620 | (1) |
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|
620 | (6) |
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621 | (1) |
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621 | (1) |
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622 | (1) |
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622 | (1) |
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623 | (1) |
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623 | (1) |
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624 | (1) |
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|
624 | (1) |
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625 | (1) |
|
XX (``Is it you standing among the olive trees'') |
|
|
625 | (1) |
|
XXX (``There is a road through the canyon'') |
|
|
625 | (1) |
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|
626 | (6) |
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|
627 | (1) |
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628 | (1) |
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629 | (1) |
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630 | (1) |
|
Dragonfly at My Windowpane |
|
|
631 | (1) |
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|
|
632 | (8) |
|
|
|
634 | (1) |
|
A Poem for Speculative Hipsters |
|
|
635 | (1) |
|
|
|
635 | (1) |
|
|
|
636 | (1) |
|
A New Reality Is Better Than a New Movie! |
|
|
636 | (2) |
|
|
|
638 | (1) |
|
|
|
638 | (1) |
|
Y The Link Will Not Always Be ``Missing'' #40 |
|
|
638 | (1) |
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|
639 | (1) |
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|
639 | (1) |
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|
640 | (12) |
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|
642 | (1) |
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|
643 | (1) |
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|
643 | (1) |
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|
644 | (4) |
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|
|
648 | (1) |
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|
|
648 | (3) |
|
I (``How soon we come to road's end---'') |
|
|
648 | (3) |
|
Stray Paragraphs in February, Year of the Rat |
|
|
651 | (1) |
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|
652 | (3) |
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|
|
653 | (1) |
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|
653 | (1) |
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654 | (1) |
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|
655 | (3) |
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656 | (1) |
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|
656 | (1) |
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|
657 | (1) |
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|
|
658 | (1) |
|
Lucille Clifton (b. 1936) |
|
|
658 | (6) |
|
|
|
659 | (1) |
|
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|
660 | (1) |
|
|
|
660 | (1) |
|
[i am accused of tending to the past] |
|
|
661 | (1) |
|
at the cemetery, walnut grove plantation, south carolina, 1989 |
|
|
661 | (1) |
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|
|
662 | (1) |
|
|
|
663 | (1) |
|
|
|
663 | (1) |
|
|
|
663 | (1) |
|
the mississippi river empties into the gulf |
|
|
664 | (1) |
|
|
|
664 | (5) |
|
|
|
665 | (1) |
|
|
|
666 | (1) |
|
DeLiza Spend the Day in the City |
|
|
667 | (1) |
|
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|
668 | (1) |
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|
|
669 | (19) |
|
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670 | (6) |
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|
671 | (1) |
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|
671 | (1) |
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|
672 | (1) |
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673 | (1) |
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674 | (1) |
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|
674 | (1) |
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|
675 | (1) |
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|
675 | (1) |
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|
|
676 | (12) |
|
|
|
688 | (10) |
|
|
|
689 | (3) |
|
[Elegiac Western Imagination] |
|
|
689 | (1) |
|
|
|
690 | (1) |
|
|
|
691 | (1) |
|
|
|
692 | (6) |
|
Michael S. Harper (b. 1938) |
|
|
698 | (7) |
|
|
|
699 | (1) |
|
We Assume: On the Death of Our Son, Reuben Masai Harper |
|
|
699 | (1) |
|
|
|
700 | (1) |
|
|
|
700 | (2) |
|
|
|
702 | (1) |
|
Nightmare Begins Responsibility |
|
|
703 | (1) |
|
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|
704 | (1) |
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|
705 | (7) |
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|
706 | (1) |
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|
706 | (1) |
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|
|
707 | (1) |
|
|
|
708 | (1) |
|
|
|
709 | (1) |
|
Spoons with Realistic Dead Flies on Them |
|
|
709 | (1) |
|
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|
710 | (1) |
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|
710 | (1) |
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|
|
711 | (1) |
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|
711 | (1) |
|
|
|
712 | (8) |
|
The Powerline Incarnation |
|
|
713 | (1) |
|
The Buladelah-Taree Holiday Song Cycle |
|
|
714 | (3) |
|
3 (``It is good to come out after driving and walk on bare grass;'') |
|
|
714 | (1) |
|
6 (``Barbecue smoke is rising at Legge's Camp; it is steaming into the midday air'') |
|
|
715 | (1) |
|
8 (``Forests and State Forests, all down off the steeper country; mosquitoes are always living in there:'') |
|
|
715 | (1) |
|
12 (``Now the sun is an applegreen blindness through the swells, a white blast on the sea face, flaking and shoaling;'') |
|
|
716 | (1) |
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|
717 | (1) |
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718 | (1) |
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|
718 | (1) |
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|
718 | (1) |
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|
719 | (1) |
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|
720 | (30) |
|
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|
723 | (1) |
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|
724 | (1) |
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725 | (1) |
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|
725 | (1) |
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|
726 | (2) |
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|
728 | (1) |
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|
729 | (2) |
|
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|
731 | (1) |
|
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|
732 | (1) |
|
|
|
733 | (3) |
|
In Memoriam Francis Ledwidge |
|
|
736 | (2) |
|
|
|
738 | (3) |
|
VIII (``Black water. White waves. Furrows snowcapped.'') |
|
|
738 | (1) |
|
XII (``Like a convalescent, I took the hand'') |
|
|
739 | (2) |
|
|
|
741 | (2) |
|
|
|
743 | (1) |
|
|
|
744 | (1) |
|
|
|
745 | (3) |
|
|
|
748 | (1) |
|
|
|
748 | (2) |
|
|
|
750 | (10) |
|
|
|
750 | (9) |
|
If I Could Mourn Like a Mourning Dove |
|
|
759 | (1) |
|
A Coin for Joe, with the Image of a Horse; c. 350--325 BC |
|
|
760 | (1) |
|
Michael Longley (b. 1939) |
|
|
760 | (5) |
|
|
|
761 | (1) |
|
|
|
762 | (1) |
|
|
|
763 | (1) |
|
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|
763 | (1) |
|
|
|
764 | (1) |
|
|
|
764 | (1) |
|
|
|
765 | (1) |
|
Margaret Atwood (b. 1939) |
|
|
765 | (9) |
|
This Is a Photograph of Me |
|
|
766 | (1) |
|
|
|
767 | (1) |
|
|
|
767 | (1) |
|
|
|
768 | (1) |
|
[Men with the Heads of Eagles] |
|
|
768 | (1) |
|
Footnote to the Amnesty Report on Torture |
|
|
769 | (1) |
|
|
|
770 | (2) |
|
|
|
772 | (1) |
|
Morning in the Burned House |
|
|
773 | (1) |
|
Eunice de Souza (b. 1940) |
|
|
774 | (4) |
|
|
|
775 | (1) |
|
|
|
775 | (1) |
|
|
|
776 | (1) |
|
|
|
776 | (1) |
|
For Rita's Daughter, Just Born |
|
|
776 | (1) |
|
|
|
777 | (1) |
|
|
|
778 | (7) |
|
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|
779 | (1) |
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|
780 | (2) |
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|
782 | (1) |
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783 | (1) |
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|
784 | (1) |
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|
785 | (3) |
|
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|
785 | (1) |
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|
786 | (1) |
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|
787 | (1) |
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|
788 | (1) |
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|
788 | (1) |
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|
|
788 | (10) |
|
|
|
789 | (4) |
|
A pause, a rose, a something on paper |
|
|
789 | (1) |
|
As for we who ``love to be astonished'' |
|
|
790 | (1) |
|
It seemed that we had hardly begun and we were already there |
|
|
791 | (2) |
|
Oxota: A Short Russian Novel |
|
|
793 | (1) |
|
|
|
793 | (1) |
|
|
|
793 | (1) |
|
|
|
794 | (1) |
|
[It Is the Writer's Object] |
|
|
794 | (1) |
|
[Yesterday I Saw the Sun] |
|
|
794 | (1) |
|
|
|
795 | (3) |
|
|
|
798 | (8) |
|
|
|
799 | (1) |
|
|
|
800 | (1) |
|
The Last of the Fire Kings |
|
|
801 | (1) |
|
A Disused Shed in Co. Wexford |
|
|
802 | (2) |
|
|
|
804 | (1) |
|
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|
805 | (1) |
|
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|
806 | (5) |
|
|
|
807 | (1) |
|
|
|
807 | (1) |
|
The Moment the Two Worlds Meet |
|
|
808 | (1) |
|
The Exact Moment of His Death |
|
|
808 | (1) |
|
My Father Speaks to Me from the Dead |
|
|
809 | (1) |
|
|
|
810 | (1) |
|
|
|
811 | (4) |
|
Rondeau after a Transatlantic Telephone Call |
|
|
811 | (1) |
|
|
|
812 | (1) |
|
13 (``No better lost than any other woman'') |
|
|
812 | (1) |
|
|
|
812 | (1) |
|
|
|
813 | (1) |
|
|
|
814 | (1) |
|
|
|
815 | (3) |
|
Leafless Trees, Chickahominy Swamp |
|
|
815 | (1) |
|
|
|
816 | (1) |
|
|
|
817 | (1) |
|
|
|
817 | (1) |
|
Black Silhouettes of Shrimpers |
|
|
817 | (1) |
|
|
|
818 | (8) |
|
|
|
819 | (1) |
|
|
|
819 | (1) |
|
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|
820 | (1) |
|
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821 | (1) |
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822 | (1) |
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823 | (1) |
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823 | (1) |
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824 | (1) |
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824 | (1) |
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825 | (1) |
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826 | (5) |
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827 | (1) |
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828 | (1) |
|
Sun (``Write this. We have burned all their villages'') |
|
|
829 | (2) |
|
Michael Ondaatje (b. 1943) |
|
|
831 | (6) |
|
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832 | (1) |
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832 | (2) |
|
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834 | (1) |
|
Driving with Dominic in the Southern Province We See Hints of the Circus |
|
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835 | (1) |
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|
835 | (1) |
|
(``To be buried in times of war'') |
|
|
835 | (1) |
|
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836 | (1) |
|
vii (``The heat of explosions'') |
|
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836 | (1) |
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837 | (7) |
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837 | (1) |
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838 | (1) |
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839 | (1) |
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840 | (1) |
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841 | (1) |
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842 | (1) |
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843 | (1) |
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844 | (8) |
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845 | (1) |
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846 | (1) |
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846 | (1) |
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847 | (1) |
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848 | (1) |
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849 | (1) |
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850 | (1) |
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851 | (1) |
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852 | (3) |
|
|
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853 | (1) |
|
A Martian Sends a Postcard Home |
|
|
854 | (1) |
|
|
|
855 | (3) |
|
Elizabeth's War with the Christmas Bear |
|
|
856 | (1) |
|
|
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857 | (1) |
|
|
|
857 | (1) |
|
Yusef Komunyakaa (b. 1947) |
|
|
858 | (6) |
|
|
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859 | (1) |
|
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860 | (1) |
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861 | (1) |
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862 | (1) |
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863 | (1) |
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864 | (11) |
|
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865 | (1) |
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866 | (1) |
|
|
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867 | (1) |
|
|
|
868 | (3) |
|
Turn Thanks to Miss Mirry |
|
|
871 | (2) |
|
|
|
873 | (1) |
|
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|
873 | (2) |
|
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|
875 | (4) |
|
|
|
876 | (1) |
|
|
|
876 | (2) |
|
|
|
878 | (1) |
|
Leslie Marmon Silko (b. 1948) |
|
|
879 | (8) |
|
|
|
880 | (4) |
|
|
|
884 | (1) |
|
Toe'osh: A Laguna Coyote Story |
|
|
885 | (2) |
|
Agha Shahid Ali (1949--2001) |
|
|
887 | (11) |
|
|
|
889 | (1) |
|
|
|
889 | (1) |
|
|
|
890 | (1) |
|
I See Chile in My Rearview Mirror |
|
|
891 | (2) |
|
|
|
893 | (1) |
|
The Country without a Post Office |
|
|
894 | (2) |
|
|
|
896 | (2) |
|
|
|
898 | (7) |
|
|
|
899 | (2) |
|
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901 | (2) |
|
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903 | (1) |
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904 | (1) |
|
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905 | (4) |
|
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|
906 | (1) |
|
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|
906 | (1) |
|
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|
907 | (1) |
|
|
|
908 | (1) |
|
Charles Bernstein (b. 1950) |
|
|
909 | (6) |
|
|
|
910 | (1) |
|
The Kiwi Bird in the Kiwi Tree |
|
|
910 | (1) |
|
From The Lives of the Toll Takers |
|
|
911 | (3) |
|
|
|
914 | (1) |
|
|
|
915 | (4) |
|
|
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916 | (1) |
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916 | (1) |
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|
917 | (1) |
|
|
|
918 | (1) |
|
|
|
919 | (14) |
|
At Luca Signorelli's Resurrection of the Body |
|
|
920 | (3) |
|
|
|
923 | (4) |
|
The Dream of the Unified Field |
|
|
927 | (4) |
|
|
|
931 | (1) |
|
|
|
932 | (1) |
|
|
|
933 | (10) |
|
|
|
934 | (5) |
|
|
|
939 | (1) |
|
XI (``TV is presocial, like Man.'') |
|
|
939 | (1) |
|
|
|
940 | (1) |
|
Lazarus Standup: Shooting Script |
|
|
940 | (2) |
|
Stanzas, Sexes, Seductions |
|
|
942 | (1) |
|
Medbh McGuckian (b. 1950) |
|
|
943 | (4) |
|
|
|
944 | (1) |
|
The Dream-Language of Fergus |
|
|
945 | (1) |
|
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|
946 | (1) |
|
|
|
946 | (1) |
|
|
|
947 | (1) |
|
|
|
947 | (5) |
|
|
|
948 | (2) |
|
|
|
950 | (1) |
|
Insomnia and the Seven Steps to Grace |
|
|
950 | (1) |
|
The Path to the Milky Way Leads through Los Angeles |
|
|
951 | (1) |
|
|
|
952 | (17) |
|
|
|
953 | (1) |
|
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|
954 | (2) |
|
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|
956 | (1) |
|
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|
957 | (1) |
|
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|
957 | (1) |
|
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|
957 | (1) |
|
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|
958 | (6) |
|
|
|
958 | (4) |
|
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|
962 | (2) |
|
|
|
964 | (1) |
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|
965 | (1) |
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|
966 | (1) |
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967 | (1) |
|
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|
967 | (2) |
|
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|
969 | (5) |
|
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|
969 | (1) |
|
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970 | (1) |
|
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971 | (1) |
|
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|
971 | (2) |
|
|
|
973 | (1) |
|
|
|
973 | (1) |
|
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|
974 | (13) |
|
|
|
976 | (1) |
|
|
|
976 | (1) |
|
|
|
976 | (1) |
|
Agosta the Winged Man and Rasha the Black Dove |
|
|
977 | (2) |
|
|
|
979 | (2) |
|
|
|
981 | (5) |
|
|
|
981 | (1) |
|
|
|
982 | (1) |
|
|
|
983 | (1) |
|
The Great Palaces of Versailles |
|
|
984 | (1) |
|
|
|
985 | (1) |
|
After Reading Mickey in the Night Kitchen for the Third Time before Bed |
|
|
986 | (1) |
|
Claudette Colvin Goes to Work |
|
|
986 | (1) |
|
|
|
987 | (6) |
|
|
|
988 | (2) |
|
|
|
990 | (1) |
|
A Man Then Suddenly Stops Moving |
|
|
991 | (1) |
|
Anselmo's Moment with God |
|
|
992 | (1) |
|
The Death of Anselmo Luna |
|
|
992 | (1) |
|
|
|
993 | (6) |
|
|
|
994 | (1) |
|
|
|
995 | (3) |
|
|
|
998 | (1) |
|
|
|
999 | (5) |
|
|
|
1000 | (1) |
|
Interpretation of a Poem by Frost |
|
|
1001 | (1) |
|
The Rapture of Dry Ice Burning off Skin as the Moment of the Soul's Apotheosis |
|
|
1001 | (2) |
|
|
|
1003 | (1) |
|
|
|
1004 | (5) |
|
|
|
1005 | (1) |
|
|
|
1006 | (2) |
|
|
|
1008 | (1) |
|
|
|
1009 | (1) |
|
Lorna Dee Cervantes (b. 1954) |
|
|
1009 | (4) |
|
|
|
1010 | (1) |
|
|
|
1011 | (1) |
|
|
|
1011 | (1) |
|
Poema para los Californios Muertos |
|
|
1012 | (1) |
|
|
|
1013 | (5) |
|
|
|
1013 | (3) |
|
|
|
1016 | (1) |
|
|
|
1016 | (1) |
|
Chinese Quatrains (The Woman in Tomb 44) |
|
|
1017 | (1) |
|
|
|
1018 | (7) |
|
|
|
1019 | (1) |
|
|
|
1020 | (2) |
|
|
|
1022 | (1) |
|
|
|
1023 | (2) |
|
Carol Ann Duffy (b. 1955) |
|
|
1025 | (5) |
|
|
|
1026 | (1) |
|
|
|
1027 | (1) |
|
|
|
1028 | (1) |
|
|
|
1029 | (1) |
|
Dionisio D. Martinez (b. 1956) |
|
|
1030 | (4) |
|
|
|
1031 | (1) |
|
|
|
1032 | (1) |
|
|
|
1033 | (1) |
|
The Prodigal Son in His Own Words: Bees |
|
|
1034 | (1) |
|
|
|
1034 | (5) |
|
|
|
1035 | (1) |
|
Buddha and the Seven Tiger Cubs |
|
|
1036 | (1) |
|
|
|
1037 | (1) |
|
|
|
1038 | (1) |
|
|
|
1039 | (1) |
|
|
|
1039 | (6) |
|
|
|
1040 | (1) |
|
|
|
1041 | (2) |
|
|
|
1043 | (1) |
|
|
|
1044 | (1) |
|
|
|
1044 | (1) |
|
|
|
1045 | (88) |
|
|
|
1046 | (1) |
|
On the Amtrak from Boston to New York City |
|
|
1046 | (1) |
|
|
|
1047 | (2) |
|
How to Write the Great American Indian Novel |
|
|
1049 | (1) |
|
|
|
1050 | (3) |
|
|
|
|
|
|
|
|
|
1053 | (8) |
|
|
|
|
Poetic Manifesto (w. 1951) |
|
|
1061 | (6) |
|
|
|
|
The Pleasure Principle (1957) |
|
|
1067 | (2) |
|
From Introduction to All What Jazz (1970) |
|
|
1069 | (3) |
|
|
|
|
Personism: A Manifesto (w. 1959) |
|
|
1072 | (2) |
|
|
|
|
Notes Written on Finally Recording Howl (1959) |
|
|
1074 | (3) |
|
|
|
|
From The Myth of a ``Negro Literature'' (1963) |
|
|
1077 | (4) |
|
|
|
|
Some Notes on Organic Form (1965) |
|
|
1081 | (5) |
|
|
|
|
When We Dead Awaken: Writing as Re-Vision (1971) |
|
|
1086 | (10) |
|
|
|
|
Feeling into Words (w. 1974) |
|
|
1096 | (13) |
|
|
|
|
Jamaica Language (w. 1979--81) |
|
|
1109 | (2) |
|
|
|
|
|
|
1111 | (4) |
|
|
|
|
From Where Mirrors Are Windows: Toward an Anthology of Reflections (1989) |
|
|
1115 | (4) |
|
|
|
|
The Antilles: Fragments of Epic Memory (1992) |
|
|
1119 | (14) |
| Selected Bibliographies |
|
1133 | (48) |
| Permissions Acknowledgments |
|
1181 | (14) |
| Index |
|
1195 | |
Other versions by this Author
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