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| Foreword | |
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| Introduction | |
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| The Obedient Girl | |
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| Fear | |
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| Fear II | |
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| Night | |
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| Chance | |
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| Charisma | |
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| The Paparazzi | |
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| Meeting the Angel | |
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| Kiss | |
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| Art | |
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| My Number | |
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| Dancing the Tarantella at the County Farm | |
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| By the Nape | |
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| Apollo | |
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| Affirmative Action Blues (1993) | |
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| Equinox | |
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| Manners | |
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| Understory | |
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| Look Here | |
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| Soon | |
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| Bilingual Sestina | |
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| Estel | |
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| The Dance Pianist | |
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| The Man in a Shell | |
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| The Kiss | |
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| When I Think About America Sometimes (I Think of Ralph Kramden) | |
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| A History of Sexual Preference | |
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| The Crypto-Jews | |
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| Late Words for My Sister | |
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| Dog-God | |
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| Erections | |
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| Your Character Is Your Destiny | |
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| Choose Your Garden | |
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| Lovely | |
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| Vespertilio | |
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| Lawrence and Edison in New Jersey: 1923 | |
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| Depth of Field | |
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| After-Image | |
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| Act One | |
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| How the Last Act Begins | |
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| Puzzle Pieces | |
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| Fog | |
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| --Cassiopeia at Noon | |
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| Sleeplessness | |
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| Demographics | |
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| From The El Paso Times "World of Women" | |
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| Heart | |
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| Her Habit | |
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| Prescient | |
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| Housekeeping | |
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| Lumens | |
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| Photo Genic | |
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| Spirit Papers | |
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| Empress Shotoku Invents Printing in 770 | |
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| Composed Near the Bay Bridge | |
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| Beijing Spring | |
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| Autumn Leaves | |
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| hag riding | |
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| blake | |
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| to michal | |
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| what did she know, when did she know it | |
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| Photographs of My Father | |
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| Letter from Home in Spanish | |
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| from Three Poems in Memory of Mama (Grandmother) Cold as Heaven | |
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| The Border | |
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| Lies | |
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| Out of My Own Pocket | |
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| Like Her Body The World | |
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| My Mother in Three Acts | |
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| Estrangement | |
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| Hotel de Dream | |
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| Childhood in Jacksonville, Florida | |
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| Prayer to the Muse of Ordinary Life | |
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| After Reading Reznikoff | |
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| In the Locker Room | |
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| In the middle of Priest Lake | |
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| Blueprints | |
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| Bookstore | |
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| Black Boys Play the Classics | |
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| For Black Women Who Are Afraid | |
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| For Sister Sue Ellen and Her Special Messenger | |
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| Rough Music | |
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| Akhmatova | |
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| Five Smooth Stones | |
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| Rosa | |
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| History | |
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| Exit | |
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| Blue Days | |
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| Gotterdammerung | |
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| Morbid | |
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| A Night Without Stars | |
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| No Moon | |
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| The Corpses | |
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| Halfway Through the Book I'm Writing | |
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| In English in a Poem | |
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| Now and Again: An Autobiography of Basket | |
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| The Annunciation in an Initial R | |
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| Moving & St Rage | |
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| Revisionary Instruments I | |
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| She Attempts to Tell the Truth About True Romance | |
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| West Texas Rain Journal | |
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| Red Clay | |
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| Elegy | |
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| The Testimony of Light | |
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| The Garden Shukkei-en | |
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| = = | |
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| Wonder Bread | |
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| Take: A Roman Wedding | |
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| Trace, In Unison | |
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| Fresh Stain | |
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| Valentine Delivered by a Raven | |
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| Un Extrano | |
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| Siren | |
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| The Nature of Suffering | |
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| Saints | |
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| Housebound | |
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| Lacrimae Rerum | |
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| From the Boat | |
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| The Ground Beneath Us | |
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| And Yet | |
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| My Bomb | |
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| Swallower | |
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| Rebirth | |
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| Thinking | |
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| The Guardian Angel of Not Feeling | |
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| Willow in Spring Wind: A Showing | |
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| Of the Ever-Changing Agitation in the Air | |
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| Saints' Logic | |
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| Line Drive Caught by the Grace of God | |
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| Mother Ruin | |
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| The Limits of Desire | |
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| Stuff | |
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| Fish Tea Rice | |
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| The Tree Falling in a Vacant Forest | |
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| The Unknowing | |
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| The Boy | |
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| Twelfth Floor West | |
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| Invocation | |
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| Broceliande | |
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| Still Life in Garden | |
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| Shells | |
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| On That Mountain | |
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| Ealcon | |
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| Mutability | |
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| A Boat Down the River of Yellow Silt | |
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| Radiator | |
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| Clippings | |
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| Annotation in Her Last Court Diary | |
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| For Beauty | |
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| The Fifth Amendment | |
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| January Ovaries | |
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| The Mysteries | |
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| The Arroyo | |
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| Male Nipples | |
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| The Lives of the Heart | |
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| On the Beach | |
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| Not-Yet | |
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| Painting | |
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| Each Happiness Ringed by Lions | |
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| Nothing | |
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| Tear | |
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| Map | |
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| Depressive Episode | |
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| Whistle | |
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| Fantasie Metropolitan | |
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| Basic Science | |
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| Bathroom | |
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| Starlet | |
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| My Broken Heart | |
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| The Attic | |
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| How Some of It Happened | |
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| The Kiss | |
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| What the Living Do | |
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| Red Velvet Jacket | |
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| The Window | |
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| Viper Light | |
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| This Poem | |
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| Peaceable Kingdom | |
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| Soul Train | |
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| Wedding Party | |
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| Song | |
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| Petition | |
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| Botticelli's St. Sebastian | |
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| Wild Turkeys: The Dignity of the Damned | |
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| Dutch Interiors | |
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| Having It Out with Melancholy | |
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| August Rain, After Haying | |
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| The Bolt | |
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| Beautiful Days | |
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| Twelve O'Clock | |
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| Reunion | |
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| Fearful Women | |
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| Ingathering | |
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| Election Day, 1984 | |
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| Early Thoughts of Winter | |
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| Almost Spring, Driving Home, Reciting Hopkins | |
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| October, Yellowstone Park | |
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| Credo | |
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| Meanwhile the Turtle | |
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| Werner Herzog 68 / Iowa City 88 | |
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| How Things Bear Their Telling | |
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| This Close | |
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| What I Wouldn't Do | |
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| Homecoming | |
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| The Thief | |
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| Blues: Late August | |
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| The Angels | |
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| from Lessons 12. Given What Manages | |
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| The Acorn | |
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| After the Storm, August | |
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| Keep Going | |
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| Then | |
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| Past All Understanding | |
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| Sizing | |
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| Three To's and an Oi | |
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| Etymological Dirge | |
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| Ghazal of the Better-Unbegun | |
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| Not Falling | |
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| Peace Studies | |
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| All quail to the wallowing | |
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| Outsider: Minnie Evans | |
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| Bedrooms | |
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| Genius of Fog at Ecola Creek Mouth | |
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| Giants | |
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| Sonnet Against Nuclear Weapons | |
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| Foundered Star | |
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| The Grove at Nemi | |
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| Golden Bough: The Feather Palm | |
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| Last Chance for the Tarzan Holler | |
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| Losing My Sight | |
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| Statues | |
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| The Late-Born Daughters | |
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| Happy and Unhappy Families I | |
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| Happy and Unhappy Families II | |
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| Animals Are Entering Our Lives | |
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| House | |
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| For the Reader (Blank Book) | |
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| Self-Portrait as Somebody Else | |
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| After I Was Dead | |
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| Like This | |
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| Miracles | |
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| At the School for the Gifted | |
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| Blue Rose | |
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| How I Discovered Poetry | |
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| Juneteenth | |
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| Chosen | |
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| The Sacrament of Poverty | |
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| Lovesong | |
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| A Baby Is Born Out of a White Owl's Forehead--1972 | |
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| I--Towards a Definition | |
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| Mysteries of Small Houses | |
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| Steps | |
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| Across the Bay | |
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| Vocabulary of Dearness | |
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| I Still Have Everything You Gave Me | |
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| Fuel | |
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| First | |
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| Her First Week | |
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| Lifelong | |
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| The Promise | |
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| Phantom Haiku/Silent Film | |
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| Ghazal: Comet | |
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| Villanelle from a Sentence in a Poet's Brief Biography | |
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| The Studio (Homage to Alice Neel) | |
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| The Boys, the Broom Handle, the Retarded Girl | |
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| from The Mastectomy Poems | |
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| The Bridge | |
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| Wintering | |
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| Healing | |
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| Millennial Polka | |
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| An Early Afterlife | |
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| Agoraphobia | |
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| Self-Portrait | |
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| Why I Am Not a Buddhist | |
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| The Purr | |
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| The Fare | |
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| Matins | |
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| For Edward Hopper, from the Floor | |
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| Lament in Good Weather | |
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| For I Have Taught the Japanese | |
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| "I've Been Around: It Gets Me Nowhere" | |
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| One Is One | |
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| The Story After the Story | |
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| "Trois Petits Tours et Puis..." | |
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| Winter | |
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| Shades | |
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| The White Star | |
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| Eating Clay | |
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| Testimonial | |
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| Before John and Maria's Wedding | |
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| Volunteers | |
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| Fast Car on Nebraska I-80: Visiting Teacher | |
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| Behind Me | |
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| Bare Windows | |
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| Inside Father's Pockets | |
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| All the Soups | |
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| The Robe | |
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| Letters to a Young Poet | |
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| In Those Years | |
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| What Kind of Times Are These | |
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| Controlling Factors | |
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| School of Denial | |
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| Minor Figure | |
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| Stopwatch | |
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| Why Isn't It All More Marked | |
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| The Woman Who Wrote Too Much | |
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| Surfaces | |
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| If She Only Had One Minute | |
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| Elephant Rocks | |
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| A Rainbow Over the Seine | |
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| Distance | |
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| Absolute September | |
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| Liam | |
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| from New Time | |
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| False Move | |
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| Crossing the Square | |
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| Notes from Underground: W. H. Auden on the Lexington Avenue IRT | |
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| Two Trees | |
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| Malleus Maleficarum 4 | |
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| Tagging | |
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| Cannibal Women in the Avocado Jungle of Death | |
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| The Man Who Killed Himself to Avoid August | |
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| Welcome to Ithaca | |
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| The Catch | |
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| Mother Tongue | |
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| At Fifty | |
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| The Faithful Daughter Dreams of Spring Break While Installing a Bird Feeder for Her Mother by a Window in the Courtyard of Safe Harbour | |
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| A Heart with Little or No Bedrock for Anchor | |
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| Late Night Radio | |
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| Long Distance | |
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| To the Dregs | |
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| Something to Say | |
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| The Past | |
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| All Souls' Day | |
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| Coward | |
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| Doomsday | |
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| The Search | |
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| Journey | |
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| Leaf | |
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| Golden | |
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| Worldling | |
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| The Robed Heart | |
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| The Rock | |
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| August | |
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| What It's For | |
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| Martin | |
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| Against Silence | |
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| The Arbor 1937 | |
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| Hummingbirds | |
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| Earth Quake | |
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| Up There | |
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| Reading | |
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| So Be It | |
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| Absent from Dances, 1925 | |
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| Fig Tree | |
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| Gustave Thibon, How Simone Weil Appeared to Me/2 | |
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| Gustave Thibon, How Simone Weil Appeared to Me/3 | |
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| Gustave Thibon, How Simone Weil Appeared to Me/4 | |
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| Gustave Thibon, How Simone Weil Appeared to Me/5 | |
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| Intact | |
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| The Goddess Corn Finds Her Dress in Disarray | |
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| Appomattox | |
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| Epithalamion | |
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| Purple Loosestrife | |
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| Rouge | |
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| Outdoor Chums in the Forest | |
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| Tea Mind | |
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| Kerosene | |
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| Private Airplane | |
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| My Taste for Trash | |
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| Horse | |
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| Rose Quartz | |
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| 1945 | |
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| Resolve | |
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| X | |
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| The One You Wanted to Be Is the One You Are | |
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| The First Station | |
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| The Under Voice | |
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| American River Sky Alcohol Father | |
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| Death Asphodel | |
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| Yield Everything, Force Nothing | |
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| One Strategy for Loving the World | |
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| Late Flight of the Love God | |
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| Poets in Late Winter | |
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| from Kyrie | |
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| Look | |
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| So Get Over It, Honey | |
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| Baltazar Beats His Tutor at Scrabble | |
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| Hagar | |
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| His Long Home | |
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| Song | |
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| Man, That Is Born of a Woman | |
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| Learning from the Movies | |
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| Thoughts While Walking | |
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| Surgical Moves | |
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| He or She That's Got the Limb, That Holds Me Out on It | |
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| Song for the Spirit of Natalie Going | |
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| That Been to Me My Lives Light and Saviour | |
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| You, Failed Pronoun | |
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| Judgment | |
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| Her Body Is Private | |
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| All the Wide Grin of Him | |
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| Abstraction | |
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| from Deepstep Come Shining | |
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| Contributors | |
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| Acknowledgments | |
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| Index | |