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| Biographical Note | |
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| The Thirties: An Essay | |
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| The Climate | |
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| The Subway | |
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| City Without Smoke | |
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| Summer | |
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| The Silence at Night | |
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| First Warm Days | |
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| Meeting in the Postoffice | |
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| The Poison | |
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| Irish American Song | |
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| A Postcard | |
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| Mid-Day Crowd | |
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| Venice | |
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| Rome | |
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| Villa Adriana | |
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| Olevano Romano | |
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| Naples | |
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| Sant'Angelo d'Ischia | |
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| Syracuse | |
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| Delos | |
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| Ciampino Envoi | |
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| Out of the Bronx subway June forest | |
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| Neighbor sneaks refuse to my roof | |
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| Born in my loft, dancer untame | |
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| Writing poems, an employee | |
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| Alex Katz points his north window | |
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| The size balls are saddens Lamarck | |
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| The grand republic's poet is | |
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| Cold pink glowing above wakes me | |
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| Inattentively fortunate | |
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| Disorder, mental, strikes me; I | |
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| Nocturnal void lower Fifth, I | |
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| The meadow rolls slanting like the | |
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| A fall night, September, black, cold | |
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| New York dark in August, seaward | |
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| In a hotelroom a madman | |
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| At first sight, not Pollock, Kline scared | |
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| Old age, lookit, it's stupid, a big fart | |
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| Nijinska's Noces (1936) | |
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| Nijinsky's Faun; Massine's Symphonie Fantastique; American Ballet Caravan (1936) | |
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| Graham's Chronicle; Uday Shankar (1937) | |
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| Balanchine's American Ballet (1937) | |
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| Balanchine's Apollon; American Ballet Caravan (1938) | |
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| Massine and the New Monte Carlo (1938) | |
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| Ashton's Devil's Holiday (1939) | |
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| Balanchine and Stravinsky: Poker Game and Baiser; The Monte Carlo Season (1940) | |
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| Graham's El Penitente and Letter to the World; Balanchine's Balustrade (1941) | |
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| Kurt Jooss; The Monte Carlo Ballet (1941) | |
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| Ballet Theatre (1942) | |
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| Isadora Reconsidered; Graham's Punch and the Judy Revisited (1942) | |
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| Tudor's Dark Elegies; Swan Lake (1942) | |
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| Massine's Aleko (1942) | |
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| Balanchine and Tchaikovsky: Ballet Imperial (1943) | |
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| Notes on Nijinsky Photographs (1943) | |
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| Markova's Dance Rhythm; Tudor's Romeo and Juliet (1943) | |
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| Massine's Capriccio Espagnol; De Mille's Three Virgins; Giselle (1943) | |
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| Tudor and Pantomime (1943) | |
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| On Meaning in Dance (1943) | |
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| Ballet Technique (1943) | |
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| The Dance in Film (1943) | |
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| Flight of the Dancer (1943) | |
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| About Toe Dancing (1943) | |
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| How to Judge a Dancer (1943) | |
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| Tudor's Lilac Garden; Lichine's Helen of Troy (1943) | |
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| Argentinita's Pictures of Goya; Tudor's Judgment of Paris (1943) | |
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| The de Mille "Touch" (1943) | |
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| Billy the Kid and Its Dance Faults (1943) | |
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| Some Faults of Ballet Theatre (1943) | |
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| Anna Sokolow (1943) | |
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| Graham's Deaths and Entrances and Salem Shore (1943) | |
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| Deaths and Entrances Revisited (1944) | |
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| The Rockettes and Rhythm (1944) | |
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| Humphrey's Inquest (1944) | |
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| A Note on Dance Intelligence (1944) | |
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| A Forum on Dance Criticism (1944) | |
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| Merce Cunningham (1944) | |
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| Serenade (1944) | |
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| A Monte Carlo Matinee (1944) | |
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| Fancy Free (1944) | |
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| Pearl Primus (1944) | |
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| Dark Elegies (1944) | |
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| A Tribute to Youskevitch (1944) | |
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| Markova's Giselle: Ballet Theatre's Glory (1944) | |
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| Where Are the New Serious Ballets? (1944) | |
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| Graham's American Document and Primitive Mysteries (1944) | |
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| A Ballet Lover's View of Martha Graham (1944) | |
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| Balanchine's Danses Concertantes (1944) | |
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| Coppelia Tells the Facts of Life (1944) | |
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| Pearl Primus on Broadway (1944) | |
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| Ballerina Trouble at Ballet Theatre? (1944) | |
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| Riabouchinska and Toumanova (1944) | |
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| Toumanova in Giselle (1944) | |
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| Toumanova's Show (1944) | |
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| A Fault in Ballet Theatre's Dancing (1944) | |
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| Toumanova and Dolin at Ballet Theatre (1944) | |
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| Ballet International at Two Weeks (1944) | |
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| About Ballet Decoration (1944) | |
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| Meaning in The Nutcracker (1944) | |
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| Deaths and Entrances (1945) | |
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| Ballet Imperial (1945) | |
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| Balanchine's Mozartiana (1945) | |
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| Coppelia: Ballet's Masterpiece of Comedy (1945) | |
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| Balanchine's Pas de Deux (1945) | |
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| Balanchine: Ballet Magician (1945) | |
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| Massine's Moonlight Sonata (1945) | |
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| Markova at Ballet Theatre (1945) | |
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| Tudor's Undertow (1945) | |
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| The Toumanova Problem (1945) | |
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| Ballet Theatre's Season (1945) | |
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| Graham's Herodiade (1945) | |
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| Appalachian Spring and Herodiade a Second Time (1945) | |
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| Concerto Barocco (1945) | |
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| To Argentinita (1945) | |
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| Apollo: The Power of Poetry (1945) | |
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| Alonso and Eglevsky in Giselle (1945) | |
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| Apollo (1945) | |
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| Robbins's Interplay (1945) | |
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| Markova's Failing (1945) | |
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| Ballet Theatre in Decline ... and a Farewell (1945) | |
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| Wigman After the War (ca. 1947) | |
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| Ashton's Cinderella (1949) | |
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| Against Meaning in Ballet (1949) | |
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| Dance Criticism (1949) | |
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| An Open Letter About the Paris Opera Ballet (1950) | |
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| A Letter About Ulanova (1951) | |
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| A Letter About Ulanova and the Royal Danish Ballet (1951) | |
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| A Letter on New York City's Ballet (1952) | |
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| Impressions of Markova at the Met (1952) | |
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| Some Thoughts About Classicism and George Balanchine (1953) | |
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| Stars of the Russian Ballet: A Film Review (1954) | |
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| Western Symphony and Ivesiana (1954) | |
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| Dancers, Buildings, and People in the Streets (1954) | |
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| Romeo and Juliet: A Film Review (1956) | |
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| Three Sides of Agon (1959) | |
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| The Bolshoi at the Met (1959-60) | |
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| Martha at Sixty-Eight (1961) | |
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| Balanchine Choreographing (1962) | |
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| Forms in Motion and in Thought (1965) | |
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| Dance Magazine Award Acceptance Speech (1966) | |
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| Bibliography of Denby's Writings | |
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| Index | |