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| Foreword | |
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| Preface | |
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| Introduction | |
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| Cante Grande | |
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| The Silversmith's Wife & the Chestnut Vendor | |
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| Migration | |
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| Class | |
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| The Sixth Avenue Go-Go Lounge | |
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| Patria | |
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| Cafe Central | |
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| Lunch Break | |
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| Bridge over Strawberry Creek | |
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| Ernesto Cardenal in Berkeley | |
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| Poem with Citations from the O.E.D. | |
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| Portrait with Lines of Montale | |
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| Grid | |
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| Far Away | |
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| Al Viejo Mundo | |
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| Papo, Who'd Wanted to Be an Artist | |
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| It Was Late and She Was Climbing | |
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| This Breathless Minute | |
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| My Brother Pito | |
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| For "S" | |
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| Hole | |
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| Within Me | |
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| Thus | |
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| Griot | |
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| Horses | |
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| Mother Picking Produce | |
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| Shaving | |
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| Varadero en Alba | |
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| Chilo's Daughters Sing for Me in Cuba | |
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| What Is Not Mine | |
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| Crossing Boston Harbor | |
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| Mexican Almuerzo in New England | |
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| Time as Art in The Eternal City | |
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| In Defense of Livorno | |
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| Somewhere to Paris | |
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| Empty Spaces | |
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| Report from the Temple of Confessions in Old Chicano English | |
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| Cartoon Coyote Goes Po-Mo | |
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| from Sound Waves: A Series | |
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| Medicine | |
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| Our Language | |
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| Song | |
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| De las Mujeres Tristes | |
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| Animal Time | |
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| La Invencion del Televisor Segun Huitzilopochtli | |
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| H. Writes His Dead Amigos for the Sake of Clarity | |
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| Lament for the chilero from Las Cruces | |
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| Testing Positive | |
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| Sissy Boy | |
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| Across a Table | |
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| Meditations on the Jordaan | |
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| Daydream to You | |
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| In Your Defense | |
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| Pecking Orders | |
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| Of Sorts | |
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| At the Delacourt | |
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| Driving toward Lake Superior | |
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| Night Gives to Things the Turning Beauty of Leaves | |
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| Ditat Deus | |
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| There Is a Light that Never Goes Out | |
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| Pear | |
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| To a Mojado Who Died Crossing the Desert | |
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| Monologue of a Vulture's Shadow | |
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| Midnight Coffee: Rafael Rodriguez Rapun, 1936 | |
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| Julio Galan: Misael: Oil, Acrylic, Mixed Media on Canvas, 2001 | |
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| Poem after Frida Kahlo's Painting The Broken Column | |
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| Pig | |
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| Fingers | |
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| Mexicali | |
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| Empty Lot | |
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| Framework | |
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| Roof | |
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| Chicago Title | |
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| Cowboy | |
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| Elwood | |
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| Aching Knees in Palm Springs | |
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| Contemporary American Hunger | |
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| Learning Economics at Gemco | |
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| Las Cucarachas | |
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| The City of Date Fruits and Bullet Wounds | |
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| The Story My Grandfather Told My Mother a Few Months before His Death | |
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| I Go Dreaming, Raking Leaves | |
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| Network of Bone | |
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| Everything Goes Down a Changeling | |
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| Darkling | |
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| Velvet | |
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| These Years, in the Deepest Holes | |
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| The Walk Like Old Habits | |
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| The Earth Without | |
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| Cebolla | |
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| Como Park, 1975 | |
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| Hermanita, Hermanota | |
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| Unit 502 | |
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| Glass Grapes | |
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| Record-Keeping | |
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| Funeral | |
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| Pinkie | |
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| Insomnia | |
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| The Night Tito Trinidad KO'ed Fernando Vargas | |
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| Cultural Stakes; or, How to Learn English as a Second Language | |
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| Cultural Stud | |
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| The Night Bernard Hopkins KO'ed Tito Trinidad | |
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| To Roberto Clemente | |
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| Cultural Silence; or. How to Survive the Last American Colony | |
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| Dysfunctional | |
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| Exploded View | |
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| Wile E. Coyote Attains Nirvana | |
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| Dog with Elizabethan Collar | |
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| Ropes | |
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| Suburban Story | |
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| Whitman Dying | |
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| St. Mary's Hospital | |
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| Man on an Island | |
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| Dear Spanish | |
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| Guadalupe Beach | |
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| Main Street | |
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| Papa George | |
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| Parade | |
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| Bats Trace Their Droppings Painting Words | |
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| I Have Been Resisting, Due to Bad Knees, 'Falling into the Work of the Living' | |
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| Her Back, My Bridge | |
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| Slow Dancing with Frank Perez | |
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| Learning to Speak | |
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| Two Girls from Juarez | |
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| Poesia de Maquiladora | |
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| Pity the Drowned Horses | |
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| An Atheist Learns to Pray | |
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| The Colt | |
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| We Drove Some Chevys | |
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| Barrio Brisbane Gives Witness | |
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| First Snow | |
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| Notes from the Art Institute | |
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| Remedio | |
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| In Birute's Camp | |
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| Nude Sonnet | |
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| Tonacacihuatl: Lady of Our Flesh | |
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| An Illustrated Guide to Things Unseen | |
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| A Secret Between Lady Poets | |
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| Has it been whispered all along? | |
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| Writing the Circle of My Life by Remembering My Great-Grandmother | |
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| What I Remember about Almost Drowning in a Lake Somewhere in Kentucky | |
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| Early Signs | |
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| How the Eye Works | |
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| Phone Intake | |
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| The Interpreter | |
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| Granada | |
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| Seasons of Writing | |
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| From Houston Back to El Paso | |
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| The Funeral | |
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| San Francisco | |
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| My Mother, Sex, and Dating | |
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| Throughout New York City | |
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| Between Two Languages | |
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| Playing around Cesar Vallejo | |
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| My Mother's High Heel Shoes | |
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| Ballade of a Boy | |
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| Kool Logic | |
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| Barrio Speedwagon Blues | |
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| Death and Taxes | |
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| Cave Painter Blues | |
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| Stella | |
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| Mobile, Alabama, 1963 | |
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| The Gift, Uruguay, 1970 | |
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| Sonnet for Rilke in February | |
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| The Fire | |
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| The Trumpets Raised | |
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| Avocados | |
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| The Early March | |
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| Nostos | |
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| Solstice | |
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| Irrigation | |
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| When Evening Becomes Stellar | |
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| One Morning | |
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| Swimming | |
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| La Aurora | |
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| Ars Poetica | |
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| History of Silence | |
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| How to Hear Chicago | |
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| After Words | |
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| Busted Lullaby | |
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| 3 Little Pigs | |
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| Police Dog | |
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| Night | |
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| Want | |
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| Bones | |
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| While Late Capitalism | |
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| Nightshift | |
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| Three Keys | |
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| Visiting the Dead | |
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| Listening for Her | |
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| Two Guavas | |
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| A Weakness for Boleros | |
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| Daphne as a Drum | |
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| Spirit Boat | |
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| Adrift | |
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| Poema en un carro publico | |
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| Blackout | |
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| About the Contributors | |
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| Further Reading | |
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| Acknowledgments | |
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| Source Notes | |