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| Preface | |
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| Introduction | |
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| Many Are Called | |
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| Eight Elegies | |
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| Reading Plato | |
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| Prologue | |
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| Unworn | |
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| Psalm (Traherne) | |
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| Afterword | |
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| [Final poem for the gently sifting public begins on the streets...] | |
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| [I like your handsome drugs. Your pleasant...] | |
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| [The thirst of the crowd. We laid the surfer down...] | |
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| [The canals. The liquor coming through...] | |
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| Ode to the Air Traffic Controller | |
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| Poem to Line My Casket With, Ramona | |
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| Zombie Sunday (Had We But World Enough and Time) | |
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| Meditation on The Consolation of Philosophy | |
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| Sleeping with Artemis | |
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| Democratic Vistas | |
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| April 13, 1865 | |
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| Community College in the Rain | |
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| From His Bed in the Capital City | |
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| I Love How Your Eyes Close Every Time You Kiss Me | |
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| Like a Face | |
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| Anne Boleyn | |
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| Pavese Said Death Will Come Bearing Your Eyes | |
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| Just Yesterday | |
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| All but Lost | |
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| Groupie | |
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| Slutty | |
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| The Northern Sun | |
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| Apparition | |
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| Chrysalis | |
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| Elegant Endings | |
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| We're Not Going to Malta | |
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| Perfect City Code | |
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| How It Begins How It Ends | |
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| Aesthetics | |
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| Divorce | |
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| Hamartia Symbolized by the Stray | |
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| "Kelly, Ringling Bros. Oldest Elephant, Goes On Rampage" | |
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| The Spots | |
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| The Only Yak in Batesville, Virginia | |
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| The Girls | |
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| The Term | |
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| Room 40 | |
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| Transporter | |
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| Thrillsville | |
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| The Power Plant | |
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| In Squire Park with M., Esquire | |
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| Phantoms of Utopia | |
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| Slowly, Slowly, Horses | |
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| Ocean State | |
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| Persephone (Unplugged) | |
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| Paysage Moralise | |
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| Morningside Park | |
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| My Ravine | |
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| Vermont | |
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| Song for a Play | |
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| Stealing from Your Mother | |
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| The Elephant | |
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| Long Goodbye | |
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| Shelburne Falls | |
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| Arbor | |
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| Sweet Reader, Flanneled and Tulled | |
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| Thirty Years Rising | |
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| All the Natural Movements of the Soul | |
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| The Unbosoming | |
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| If You Are Asked | |
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| How to Look at Mexican Highways | |
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| Driven by a Strange Desire | |
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| Golfers in the Family | |
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| Twenty-Seven Props for a Production of Eine Lebenszeit | |
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| Three Panels Depending on the Heart | |
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| The New Intelligence | |
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| Birdsong from Inside the Egg | |
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| The War Is Over | |
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| Our Man | |
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| Forensics | |
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| Sticks | |
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| Atomic Bride | |
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| Slow Fade to Black | |
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| Zapruder | |
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| On Fire | |
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| The Boxers | |
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| Intermission | |
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| Myths of the Disappearance | |
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| Geburt des Monicakinds | |
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| Stories from the Tower | |
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| Childhood's House | |
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| Miraculous Image | |
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| Scold's Mask | |
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| Subway | |
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| Housefire | |
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| Swarm | |
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| Hive | |
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| Emptying Town | |
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| Cartoon Physics, part 1 | |
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| Cartoon Physics, part 2 | |
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| Flesh | |
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| Nocturne | |
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| The Hands of the Body Without the Body, and Nothing to Hold | |
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| Colosseum | |
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| Afterward, There Will Be a Hallway | |
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| Berlin Series | |
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| Nostalgia, Cheryl, Is the Best Heroin | |
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| Saints | |
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| Analogies | |
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| The Last Living Castrato | |
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| Not Body | |
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| The Wolf | |
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| Kiss of Judas | |
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| Abandoned Conversation with the Senses | |
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| Our Square of Lawn | |
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| Ideas Go Only So Far | |
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| Definition of Weather | |
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| Pity the Bathtub Its Forced Embrace of the Human Form | |
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| Wind in a Box | |
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| The Blue Terrance | |
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| The Elegant Tongue | |
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| A Postcard from Okemah | |
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| Talk | |
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| As Western Culture Declined Without Its Knowing | |
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| Where Spring Is | |
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| My Wrist Split Open | |
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| Corrections | |
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| My Pieta | |
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| Zombie | |
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| The Pyramid | |
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| Skin | |
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| Rooms | |
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| Submarine | |
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| Explanation | |
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| Sampler City | |
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| Hume's Suicide of the External World | |
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| Comprehension Questions | |
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| Blunts | |
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| Euphoria | |
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| Pest | |
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| Don Pullen at the Zanzibar Blue Jazz Cafe | |
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| Poem Beginning with a Line by Frank Lima | |
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| The New Life | |
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| Song of the Chinchilla | |
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| The United States of America | |
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| The Girl Who Couldn't Be Loved | |
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| Beggar's Song | |
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| Kind of Blue | |
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| Public Radio Plays Eddie Harris | |
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| Author's Prayer | |
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| Dancing in Odessa | |
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| Maestro | |
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| Orphean Song | |
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| Mechanics | |
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| The Gallery | |
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| Subtraction Song | |
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| Occupation | |
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| Monologue for an Onion | |
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| On Sparrows | |
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| Empty House | |
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| Letters to a Vanishing Fiancee | |
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| Salvation | |
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| My Psychic | |
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| And Having Lost Track | |
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| Porch in Snow | |
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| Mariana Trench | |
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| Orpheus. Eurydice. Hermes | |
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| Bad Aliens | |
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| An Ordinary Evening | |
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| Gypsy Summer | |
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| Civilization Day | |
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| I Am Like a Desert Owl, an Owl Among the Ruins | |
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| Sympathy and Envy | |
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| A Dream of Mimesis | |
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| In Las Vegas | |
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| Ars Poetica (the idea) | |
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| Chill Core | |
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| Glass Heart | |
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| Cinema Verite | |
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| First | |
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| A Condensed History of Beauty | |
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| On Death | |
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| On God | |
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| "[O boss of ashes boss of dust...]" | |
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| Hello | |
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| The Babies | |
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| The Mustache | |
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| Transylvania, 1919 | |
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| The Experiments Lasted Through the Winter | |
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| Portrait of a Child | |
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| Three Bridges | |
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| After the Shipwreck | |
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| I Was Buried in Janzoor | |
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| Growing Up With a Sears Catalog in Benghazi, Libya | |
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| Echo & Elixir 1 | |
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| Echo & Elixir 2 | |
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| Logic in the House of Sawed-Off Telescopes | |
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| Lineage | |
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| Opposites Attack | |
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| The Archipelago of Kisses | |
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| Dear America | |
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| Still Life W/Influences | |
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| The Wind Domes | |
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| Persuasion | |
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| Look | |
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| With This Change to Indoor Lighting | |
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| Rendered Dog | |
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| Marriage Proposal | |
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| Hearing Music Through Dark Trees | |
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| Capstone | |
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| Where Were You | |
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| Driving Past My Exit | |
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| The Vandals | |
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| The Vandals Dying | |
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| Practicing Their Diffidence, The Vandals | |
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| [when you touch down upon this earth.little reindeers] | |
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| [sleek mechanical dart: the syringe noses into the blue vein marking the target of me] | |
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| [tall and thin and young and lovely the michael with kaposi's sarcoma goes walking] | |
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| [writing for a young man on the redline train: "to his boy mistress"] | |
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| [coda & discography] | |
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| For the Unfortunates | |
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| The End of the City | |
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| A Car Has Fallen from a Bridge | |
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| The Rise of Rome | |
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| On Finding a Swastika Carved on a Tree in the Hills Above Heidelberg | |
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| Corruption | |
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| Scarecrow Eclogue | |
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| Second Circle | |
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| Evening with Stars | |
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| Burial Practice | |
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| Portofino | |
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| Autumn Song | |
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| The Clerk's Tale | |
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| Strawberry | |
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| Stupid | |
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| What Was There to Bring Me to Delight But to Love and Be Loved? | |
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| a crash of rhinos | |
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| Childhood Stories | |
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| from The World at Night | |
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| My Government | |
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| We Never Should Have Stopped at Pussy Island | |
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| More Important Than the Design of Cities Will Be the Design of Their Decay | |
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| Man-Torpedo-Boat | |
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| Assembling My Shepherd | |
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| Never Morocco | |
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| Big Rig the Baroque Sky | |
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| At Shedd Aquarium | |
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| Chanel No. 5 | |
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| Vampire Finch | |
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| Woodpecker Finch | |
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| House of Dior | |
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| The Alphabetizer Speaks | |
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| First Bookshelf | |
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| What I Disliked About the Pleistocene Era | |
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| Your Name on It | |
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| Epithalament | |
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| Postfeminism | |
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| You Love, You Wonder | |
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| Panopticon | |
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| Boot Theory | |
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| A Primer for the Small Weird Loves | |
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| Saying Your Names | |
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| Self-Portrait as the Letter Y | |
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| History | |
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| Duende | |
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| localism or t/here | |
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| December 1, 2002 | |
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| December 4, 2002 | |
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| January 28, 2003 | |
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| One Thousand Bullfrogs Rejoice | |
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| Meteor | |
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| Holy Ghost | |
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| Eohippus | |
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| Elsewhere | |
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| First person plural is a house | |
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| Set for a Southern Gothic | |
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| Detail From "Set for a Southern Gothic" | |
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| Dead House Sonnet | |
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| Trick Noir | |
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| They Call You Moody | |
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| Touch Me Not | |
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| Modern Love | |
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| Miscegenation | |
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| Genus Narcissus | |
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| Countess P-'s Advice for New Girls | |
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| Native Guard | |
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| Story for the Mother Tongue | |
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| Next to Last Prayer | |
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| Portraits at the Epicenter | |
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| [Now I promise...] | |
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| [If it be event...] | |
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| The Case | |
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| May | |
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| Kiss Me Deadly | |
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| The Miracles of St. Sebastian | |
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| What Begins Bitterly Becomes Another Love Poem | |
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| Hotel d'Avignon | |
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| O Canada! | |
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| As Hour and Year Collapsed | |
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| Send New Beasts | |
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| Narrative Poem | |
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| Where I Stand with Regard to the Game | |
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| Italics, Mine | |
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| Nervous Systems | |
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| Junkyard | |
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| [Wind in bare vines...] | |
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| Relict | |
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| Coal Age | |
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| The Fossil Garden | |
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| Testimony | |
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| Confession | |
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| 50 Years in the Career of an Aspiring Thug | |
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| Advice | |
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| Press Play | |
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| Sybil | |
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| Lamb, Willow: An Arch Dolefulness Has Taken Me This Far | |
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| Amaryllis | |
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| Voluntary Servitude | |
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| Fourteen Things We're Allowed to Bring to the Underworld | |
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| Predictions About a Black Car | |
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| Naglfar | |
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| Night Ferry to Naxos 1 | |
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| Night Ferry to Naxos 2 | |
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| Flatlanders | |
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| Proximity | |
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| Torn | |
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| Infidelity | |
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| Soundtrack | |
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| The Rushes | |
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| Negative | |
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| Song of Smoke | |
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| Errata | |
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| Canada | |
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| School Street | |
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| Whoever You Are | |
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| Credo | |
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| Velocity Among the Ruins of Angel Republic | |
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| Vertigo | |
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| [from] Viatica | |
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| Diary (Underworld) | |
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| Not Knowing Nijinsky or Diaghilev | |
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| In Your Version of Heaven I Am Younger | |
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| Photo Credits | |
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| Further Reading | |
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| Acknowledgments | |
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| Editors' Acknowledgments | |
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| The Editors | |