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| Acknowledgments | |
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| Introduction | |
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| From This We Come | |
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| Generations | |
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| Poem in September, on My Mother's Birthday | |
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| When I Feel Most Like Her | |
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| I Go Back to May 1937 | |
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| Where I'm From | |
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| On the Hovander Homestead | |
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| The Grandmother Songs | |
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| To Jacqueline, Age 2, in Her Great-Grandmother's House | |
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| Forgiveness | |
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| Giving Back the World | |
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| Fury | |
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| Daughters | |
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| I Am Asking You to Come Back Home | |
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| I Stop Writing the Poem | |
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| With Stars | |
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| The Sleeping | |
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| Thrall | |
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| Totems: Three Generations | |
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| The Woman Who Loved Worms | |
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| Pokeberries | |
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| Final Disposition | |
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| Newborn | |
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| Defiance | |
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| Hair | |
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| Sending the Mare to Auction | |
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| Exposure | |
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| Refusing Silence | |
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| Trouble with Math in a One-Room Country School | |
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| I Knew I'd Sing | |
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| Knowing My Name | |
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| Amelia Earhart Rag Doll | |
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| Pagan | |
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| The Circus of Levitation | |
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| Becoming a Nun | |
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| The Drum Majorette Marries at Calvary Baptist | |
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| The Necessity | |
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| Taking In Wash | |
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| Untitled | |
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| How She Was Saved | |
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| Jeanne d'Arc | |
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| The Right Thing | |
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| Desperate Measures | |
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| The Terms of Endurance | |
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| Crossing | |
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| Hawks | |
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| Identity | |
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| Primer (excerpt) | |
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| Portrait d'une Femme | |
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| A Woman Alone | |
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| Variation on a Theme by Rilke (The Book of Hours, Book I, Poem 1, Stanza 1) | |
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| Defining It For Vanessa | |
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| Arms (excerpt) | |
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| Teresa of Avila | |
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| The Rockettes | |
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| Skylights | |
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| Naming the Animals | |
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| Consorting with Angels | |
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| Invisibility Poem: Lesbian | |
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| We All Have Many Chances | |
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| Power Failure | |
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| I Was Born | |
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| Turning | |
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| It was a dream | |
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| The Daughter Who Sings | |
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| With Apologies to Nancy Drew | |
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| The Stammer | |
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| Daystar | |
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| All These Dreams | |
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| By This We Live | |
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| The Earth and Her Creatures | |
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| My Mother | |
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| For a Wedding on Mount Tamalpais | |
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| Happiness | |
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| The Love of Aged Horses | |
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| The earth is a living thing | |
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| Among the Cows | |
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| The Lull | |
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| Jug Brook | |
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| Bats | |
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| Demeter | |
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| The Summer Day | |
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| Wild Geese | |
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| The Fallen | |
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| Other, Sister, Twin | |
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| Muskogee | |
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| Prayer | |
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| Poem | |
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| Credo | |
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| The Filbert Orchard | |
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| Burdock | |
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| The Body | |
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| Making Tortillas | |
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| Strung | |
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| Surviving | |
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| The Laundromat | |
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| The Dieter's Daughter | |
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| Love the human | |
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| Song at midnight | |
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| Smell | |
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| Tits | |
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| This Part of Your Body | |
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| Night Sweat | |
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| The Lesson | |
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| Skin | |
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| Christmas Eve: My Mother Dressing | |
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| To Those of My Sisters Who Kept Their Naturals | |
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| Women's Aerobics Class | |
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| Eve Falling | |
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| Simple Blessings | |
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| Little Things | |
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| Challah | |
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| Stranded in Mobridge by a Spring Blizzard | |
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| Must We Train Ourselves to Be as Doves | |
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| Groundhog Day | |
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| Winter Light | |
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| Friday Afternoon: The Rabbi's Wife | |
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| Ella, in a Square Apron, Along Highway 80 | |
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| Washing Sheets in July | |
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| Happiness | |
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| Yard Sale | |
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| In the Kitchen We String Beans | |
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| Each Thing Measured by the Same Sun | |
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| Except for Laura Secord (or Famous Women from Canada's Past) | |
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| A Hardware Store As Proof of the Existence of God | |
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| Salvadoran Salsa | |
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| To Make History | |
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| Love, Family, Friendship | |
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| Every Fact Is a Field | |
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| For Jan, in Bar Maria | |
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| Yellow Roses | |
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| Sunday Night, Driving Home | |
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| Easter Sunday, 1955 | |
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| Recalling The Family Group, a Sculpture by Henry Moore | |
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| A Letter from Margaret to Her Sister | |
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| Variation on the Door | |
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| At the Cafe Saint Jacques | |
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| Negative Space | |
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| Motion | |
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| The Lost Bells of Heaven | |
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| Attraction | |
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| Fishing Seahorse Reef | |
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| Daylily | |
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| China | |
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| The Dancers | |
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| Variation on the Word Sleep | |
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| Ecstasy | |
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| Cathay | |
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| Personal Ad | |
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| Seduction | |
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| Harlem | |
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| Secure | |
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| Familiar | |
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| For My Husband Sleeping Alone | |
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| Dulzura | |
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| Wish | |
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| Poem in Praise of My Husband | |
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| The Garden | |
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| Wanting All | |
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| Shazam | |
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| You Lay Between Us From April Until July | |
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| The Summit of Wives | |
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| Divorce | |
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| Divorce | |
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| Bitch | |
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| Answered Prayers | |
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| From Fullness We Give | |
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| Conception and Birthing | |
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| To My Still-Unconceived Daughter | |
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| The Name of My Daughter | |
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| Infertility | |
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| Could It Have Been the Fine Thread? | |
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| The Premonition | |
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| Middle Child | |
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| Miscarriage | |
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| Bone Poem | |
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| Creation | |
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| The Run of Silvers | |
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| Elena at Five Years | |
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| Annunciation | |
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| Hymn | |
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| Toward the Music | |
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| Stone Fruit | |
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| And I am a lucky woman | |
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| Margaret Fuller in the Abruzzi Mountains, June 1848 | |
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| Incarnation | |
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| For Alva Benson, And For Those Who Have Learned To Speak | |
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| Mothering | |
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| Pastoral | |
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| Collage: Mother, Daughter, Child, and Book | |
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| In the Ocean | |
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| There are times in life when one does the right thing | |
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| For my husband's mother | |
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| Letter to the Children | |
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| The Meaning of Bones | |
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| When Persephone Leaves | |
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| The Boston School of Cooking Cookbook | |
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| The Power in My Mother's Arms | |
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| Elinor Frost's Marble-topped Kneading Table | |
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| Surviving (excerpt) | |
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| Signing My Name | |
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| The Silver Shoes | |
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| Dreams in Harrison Railroad Park | |
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| Eve of the Longest Day | |
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| Seeing the Aurora with Emily | |
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| Illness | |
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| February Letter | |
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| Locked Ward, Newtown, Connecticut | |
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| Still | |
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| Mammogram | |
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| Two | |
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| The Line | |
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| Scar | |
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| The Man of Many L's | |
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| Winter-Seeming Summer | |
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| The Woman Who Could Not Live with Her Faulty Heart | |
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| Praying to Big Jack | |
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| When I Understood | |
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| Naked Ladies | |
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| For Jan as the End Draws Near | |
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| Go Gentle | |
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| Mid-American Tragedy | |
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| Close to Death | |
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| Red Poppy | |
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| Death | |
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| Food Chain | |
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| The Great Blue Heron | |
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| Between Losses | |
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| Burying the Past | |
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| The Legacy | |
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| Living with the Dead | |
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| Listening | |
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| Salt | |
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| Retrospect in the Kitchen | |
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| My Cousin Dancing | |
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| Summation | |
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| Paradise | |
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| Infinite Room | |
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| Another Elegy | |
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| Health | |
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| Girlfriend | |
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| In Memory: After a Friend's Sudden Death | |
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| Aging | |
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| Aging Female Poet on Laundry Day | |
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| Aging Female Poet Sits on the Balcony | |
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| Cross Currents | |
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| Dogwoods at Forty-One | |
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| The Power of Place | |
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| Poem for the Old Woman I Am Becoming | |
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| The Crows | |
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| Untitled | |
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| The Gloves | |
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| Grace Enters Armageddon | |
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| All My Friends' Pets Are Growing Old | |
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| The Lovers at Eighty | |
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| Bird Lady | |
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| At the Roosevelt Baths | |
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| Gather | |
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| When She Laughs | |
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| Hunchback | |
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| The Bird Woman | |
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| We Bless Those Who Follow | |
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| Compassion | |
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| Learning CPR | |
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| Back from the City | |
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| Choice | |
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| Sickness | |
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| Solitary | |
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| Selective Service | |
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| The Argument, 1973 | |
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| Blood | |
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| The Use of Fiction | |
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| Painting of a White Gate and Sky | |
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| Vespers | |
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| Bread and Water | |
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| Can't Tell | |
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| Women Bathing at Bergen-Belsen | |
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| Memorial Day | |
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| Bob | |
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| Easter: The Lame Bull | |
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| News Report, September 1991 | |
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| January 1991 | |
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| The Woman Hanging From The Thirteenth Floor Window | |
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| The Adamsons' Peacocks | |
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| Near Roscoe and Coldwater (excerpt) | |
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| The Weighing | |
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| Touched | |
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| Work | |
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| The Piemaker | |
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| Portraits in Contradiction | |
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| Restaurant | |
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| The Magician | |
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| Living in the Barn | |
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| Night Shift at the Fruit Cannery | |
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| The Women Always Wave the Flags | |
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| Why I Make the Best Barrels | |
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| A Woman in a Car Driving | |
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| The Lesson | |
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| Gertrude Kasebier | |
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| Call the Interval Happiness | |
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| God and the Artists' Colony | |
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| Risk | |
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| My Poems | |
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| Work | |
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| Ars Poetica Feminae (excerpt) | |
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| Woman of Light | |
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| Mother Notes for Elaine | |
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| Poet's Manual | |
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| For Those Whom the Gods Love Less | |
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| Poem White Page White Page Poem | |
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| Who | |
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| Partings | |
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| Making a Fist | |
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| The Hermit | |
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| Snowdrops | |
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| An Act of Faith | |
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| Meatballs | |
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| The Whale | |
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| The Well | |
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| The Sky Could Send You | |
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| In Memory | |
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| Growing Light | |
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| The Healing Time | |
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| Courage | |
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| The Door | |
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| Nothing | |
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| Credits | |
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| Subject Index | |
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| Index of Contributors | |