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| Before Designing the Course: A Preface to the Teacher | |
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| Starting Out: An Introduction | |
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| Word Magic | |
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| Diction | |
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| Syntax | |
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| Pruning and Weeding | |
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| Clarity, Obscurity, and Ambiguity | |
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| Questions and Suggestions | |
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| Poems to Consider | |
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| Barter | |
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| Mule Hour | |
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| Terrance Hayes | |
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| Famous | |
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| Naomi Shihab Nye | |
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| Abstraction | |
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| Reading Sonnevi On A Tuesday Night | |
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| Form | |
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| Verse | |
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| Line | |
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| Form | |
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| Balance | |
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| Questions and Suggestions | |
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| Poems to Consider | |
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| the rites for Cousin Vit | |
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| Gwendolyn Brooks | |
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| Po]Tolka (Prague) | |
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| Form | |
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| Heather Mchugh | |
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| What The Mosquito Gives | |
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| Traveling Through The Dark | |
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| Unconditional Election | |
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| Making the Line (I) | |
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| Meter | |
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| Stress | |
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| Speech, Rhythm, and the Line | |
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| Line Length | |
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| Questions and Suggestions | |
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| Poems to Consider | |
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| Sisyphus | |
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| Signs | |
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| What We Know About Ghost Images | |
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| Eva Braun at Berchtesgaden | |
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| Victoria Chang | |
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| Her Web | |
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| Erin Belieu | |
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| One Art | |
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| Making the Line (II) | |
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| Longer Lines | |
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| Lines of Mixed Length | |
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| Shorter Lines | |
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| Syllabics | |
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| Prose Poems | |
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| Questions and Suggestions | |
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| Poems to Consider | |
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| Meanwhile | |
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| Richard Siken | |
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| Balloons | |
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| Sylvia Plath | |
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| Don't Look Back | |
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| Kay Ryan | |
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| The Guides | |
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| the fever | |
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| Gruss | |
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| the Sound (and Look) of Sense | |
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| Visible Form | |
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| Repetition | |
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| Alliteration and Assonance | |
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| Rhyme | |
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| Onomatopoeia | |
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| Questions and Suggestions | |
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| Poems to Consider | |
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| Dear Petrarch | |
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| Cate Marvin | |
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| Do Not Disturb | |
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| Mary Ruefle | |
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| Reapers | |
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| Jean Toomer | |
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| January II | |
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| Charles Wright | |
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| After the Trial | |
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| Weldon Kees | |
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| Content | |
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| Subject Matter | |
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| Subjects and Objects | |
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| Memory | |
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| Imagery | |
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| Resonant Detail | |
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| Questions and Suggestions | |
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| Poems to Consider | |
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| Bitch | |
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| The Man. His Bowl. His Raspberries. | |
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| Claudia Rankine | |
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| The Tropics in New York | |
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| Chrysanthemums | |
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| Spencer Reece | |
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| The Beautician | |
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| Thom Gunn | |
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| Metaphor | |
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| Figuratively Speaking | |
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| A Name for Everything | |
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| Pattern and Motif | |
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| Conceits | |
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| Metaphoric Implication | |
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| Questions and Suggestions | |
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| Poems to Consider | |
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| The Empire in the Air | |
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| My Arms | |
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| Paul Guest | |
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| Rowing | |
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| The Way Things Work | |
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| Blue | |
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| Reginald Shepherd | |
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| Tale, Teller, and Tone | |
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| Narration, Pacing, and Tense | |
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| Persona | |
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| Point of View | |
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| Tone | |
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| Questions and Suggestions | |
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| Poems to Consider | |
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| Personals | |
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| [writing for a young man on the redline train: "to his boy mistress"] | |
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| D.A. Powell | |
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| Bleeder | |
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| Winter | |
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| Marie Ponsot | |
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| The Wood-Pile | |
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| Robert Frost | |
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| the Mysteries of Language | |
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| The Sense of Nonsense | |
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| The Logic of the Analogic | |
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| Ordinary Strangeness | |
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| Translation | |
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| Questions and Suggestions | |
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| Poems to Consider | |
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| Hunger | |
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| Remember the Trains? | |
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| Martha Collins | |
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| A Hunger So Honed | |
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| Tracy K. Smith | |
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| Everything | |
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| Srikanth Reddy | |
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| The Moon | |
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| jaime sabines | |
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| Process | |
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| Finding the Poem | |
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| Imitation and Models | |
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| Sources and "Truth" | |
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| Emotion and Thought | |
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| Getting into Words | |
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| Keeping a Poem Going | |
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| Questions and Suggestions | |
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| Poems to Consider | |
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| The Other Cold War | |
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| Adrian Blevins | |
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| Realism | |
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| Off-Season at the Edge of the World | |
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| Visitation | |
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| Kathy Fagan | |
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| Song | |
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| Brigit Pegeen Kelly | |
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| Devising and Revising | |
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| Exploring | |
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| Focusing | |
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| Shaping | |
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| Creating Community | |
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| Submitting Your Work | |
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| Questions and Suggestions | |
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| Poems to Consider | |
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| Workshop | |
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| Billy Collins | |
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| Immediate Revision | |
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| Chase Twichell | |
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| Muse | |
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| The Next Poem | |
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| Dana Gioia | |
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| Winter Conception | |
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| Eleanor Wilner | |
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| Questions for Discussing and Revising Poetry | |
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| A Brief Glossary of Forms | |
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| Acknowledgments | |
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| Index of Authors and Titles | |
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| Index of Terms | |