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| Introduction | |
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| A Note on the Second Edition, 2003 | |
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| The Quaker Graveyard in Nantucket | |
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| Memories of West Street and Lepke | |
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| Man and Wife | |
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| Skunk Hour | |
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| The Mouth of the Hudson | |
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| For the Union Dead | |
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| Waking Early Sunday Morning | |
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| History | |
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| The Nihilist as Hero | |
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| Reading Myself | |
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| Obit | |
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| Fishnet | |
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| Dolphin | |
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| Epilogue | |
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| The Bight | |
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| Over 2,000 Illustrations and a Complete Concordance | |
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| At the Fishhouses | |
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| The Shampoo | |
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| Brazil, January 1, 1502 | |
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| Under the Window: Ouro Preto | |
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| The Armadillo | |
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| Filling Station | |
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| In the Waiting Room | |
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| One Art | |
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| Poem | |
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| Cuttings | |
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| Root Cellar | |
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| The Shape of the Fire | |
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| The Waking | |
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| I Knew a Woman | |
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| In a Dark Time | |
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| The Moon and the Night and the Men | |
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| From the Dream Songs (1, 4, 5, 14, 29, 46, 76, 77, 143, 257, 384) | |
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| 90 North | |
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| Eighth Air Force | |
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| The Death of the Ball Turret Gunner | |
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| The Woman at the Washington Zoo | |
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| Cinderella | |
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| Next Day | |
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| Well Water | |
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| Masts at Dawn | |
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| Birth of Love | |
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| Rattlesnake Country | |
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| Evening Hawk | |
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| The Kingfishers | |
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| For My Contemporaries | |
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| To My Wife | |
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| From a Century of Epigrams 9 (29, 53, 55, 62, 76) | |
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| Night, Death, Mississippi | |
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| Frederick Douglass | |
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| Middle Passage | |
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| Amsterdam Letter | |
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| Cracked Looking Glass | |
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| After Reading The Country of the Pointed Firs | |
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| Teleology | |
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| Unconscious Came a Beauty | |
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| Stone Gullets | |
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| Staying at Ed's Place | |
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| Strawberrying | |
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| A Poem Beginning With a Line by Pindar | |
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| Styx | |
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| The Illiterate | |
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| Thoughts on One's Head | |
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| Consequences | |
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| Country Stars | |
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| The Jain Bird Hospital in Delhi | |
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| Storm Windows | |
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| Writing | |
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| Money | |
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| The Dependencies | |
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| Learning the Trees | |
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| Because You Asked About the Line Between Prose and Poetry | |
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| The War in the Air | |
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| A Baroque Wall-Foundation in the Villa Sciarra | |
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| Looking Into History | |
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| Love Calls Us to the Things of This World | |
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| Mind | |
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| Advice to a Prophet | |
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| Walking to Sleep | |
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| Hamlen Brook | |
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| Homework | |
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| Into Mexico | |
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| The Twins | |
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| A View | |
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| The Stream | |
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| The Pruned Tree | |
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| The Wars | |
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| Menage a Trois | |
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| Elegy for My Sister | |
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| Rules of Sleep | |
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| Einstein's Bathrobe | |
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| The Heaven of Animals | |
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| The Hospital Window | |
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| The Sheep Child | |
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| The Strength of Fields | |
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| A Hill | |
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| Third Avenue in Sunlight | |
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| "More Light! More Light!" | |
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| Peripeteia | |
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| The Feast of Stephen | |
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| The Crystal Lithium | |
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| Shimmer | |
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| Korean Mums | |
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| Clouds | |
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| The Ache of Marriage | |
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| Intrusion | |
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| Seeing for a Moment | |
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| Prisoners | |
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| Graves at Elkhorn | |
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| The Lady in Kicking Horse Reservoir | |
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| Degrees of Gray in Philipsburg | |
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| The River Now | |
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| An Afternoon at the Beach | |
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| Amor Vincit Omnia | |
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| From Autumn Shade (3, 6, 8, 9) | |
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| A Muse of Water | |
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| Amusing Our Daughters | |
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| From Pro Feminia (I, II) | |
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| The Evening of the Mind | |
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| Men at Forty | |
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| The Tourist from Syracuse | |
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| Variations on a Text by Vallejo | |
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| The Assassination | |
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| Mule Team and Poster | |
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| To the Harbormaster | |
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| A Step Away from Them | |
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| Meditations in an Emergency | |
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| Why I Am Not a Painter | |
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| The Day Lady Died | |
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| Having a Coke With You | |
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| Ave Maria | |
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| The Best Slow Dancer | |
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| The Naval Trainees Learn How to Jump Overboard | |
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| The Excursion of the Speech and Hearing Class | |
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| Five Dawn Skies in November | |
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| Making Camp | |
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| The Source | |
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| I Know a Man | |
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| The Rescue | |
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| Air: "The Love of a Woman" | |
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| For Friendship | |
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| For Love | |
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| Again | |
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| The World | |
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| From Howl (I) | |
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| Sunflower Sutra | |
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| My Sad Self | |
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| Wales Visitation | |
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| April Inventory | |
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| From Heart's Needle (2, 6) | |
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| Mementos, 1 | |
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| A Locked House | |
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| A Renewal | |
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| Voices from the Other World | |
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| Days of 1964 | |
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| Willowware Cup | |
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| Lost in Translation | |
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| The Animals | |
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| Some Last Questions | |
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| The River of Bees | |
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| For the Anniversary of My Death | |
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| The Asians Dying | |
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| For a Coming Extinction | |
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| The Night of the Shirts | |
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| Bread | |
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| St. Vincent's | |
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| He Held Radical Light | |
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| Gravelly Run | |
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| Corsons Inlet | |
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| Reflective | |
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| Terrain | |
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| The City Limits | |
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| Glazunoviana | |
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| Soonest Mended | |
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| As One Put Drunk Into the Packet-Boat | |
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| Pyrography | |
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| And Ut Pictura Poesis Is Her Name | |
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| Syringa | |
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| My Erotic Double | |
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| At the Executed Murderer's Grave | |
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| Autumn Begins in Martins Ferry, Ohio | |
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| Lying in a Hammock at William Duffy's Farm in Pine Island, Minnesota | |
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| Beginning | |
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| A Blessing | |
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| In Response to a Rumor That the Oldest Whorehouse in Wheeling, West Virginia, Has Been Condemned | |
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| A Winter Daybreak Above Vence | |
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| Vapor Trail Reflected in the Frog Pond | |
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| Last Songs | |
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| The Bear | |
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| After Making Love We Hear Footsteps | |
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| The Man Splitting Wood in the Daybreak | |
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| The Vow | |
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| The Man on the Hotel Room Bed | |
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| Her Kind | |
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| Music Swims Back to Me | |
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| The Truth the Dead Know | |
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| The Starry Night | |
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| With Mercy for the Greedy | |
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| Wanting to Die | |
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| The Room of My Life | |
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| The Horse | |
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| They Feed They Lion | |
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| Belle Isle, 1949 | |
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| You Can Have It | |
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| Rain Downriver | |
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| Sweet Will | |
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| Family History | |
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| The Dream | |
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| From All of Us Here | |
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| The Night Mirror | |
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| From Powers of Thirteen (3, 29, 69, 82, 87, 130) | |
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| Swan and Shadow | |
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| The Mad Potter | |
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| The Venetian Interior, 1889 | |
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| At the Monument to Pierre Louys | |
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| Snapshots of a Daughter-in-Law | |
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| Planetarium | |
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| The Burning of Paper Instead of Children | |
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| Paula Becker to Clara Westhoff | |
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| For the Record | |
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| For an Album | |
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| Mid-August at Sourdough Mountain Lookout | |
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| Riprap | |
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| Burning Island | |
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| The Bath | |
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| I Went Into the Maverick Bar | |
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| Axe Handles | |
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| The Colossus | |
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| The Hanging Man | |
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| Morning Song | |
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| Daddy | |
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| Fever 103[degree] | |
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| Ariel | |
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| Lady Lazarus | |
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| Edge | |
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| Words | |
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| Keeping Things Whole | |
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| Coming to This | |
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| The Prediction | |
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| "The Dreadful Has Already Happened" | |
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| The Story of Our Lives | |
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| Where Are the Waters of Childhood? | |
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| Stone Canyon Nocturne | |
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| Spider Crystal Ascension | |
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| Clear Night | |
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| Homage to Paul Cezanne | |
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| The Other Side of the River | |
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| Coal | |
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| Movement Song | |
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| Afterimages | |
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| Rain | |
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| When Death Comes | |
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| Whelks | |
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| Hawk | |
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| The Homecoming Singer | |
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| Benjamin Banneker Sends His Almanac to Thomas Jefferson | |
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| Journey to the Place of Ghosts | |
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| It Is This Way With Men | |
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| The Gas Station | |
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| Tar | |
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| Alzheimer's: The Wife | |
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| Tapestry | |
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| My Shoes | |
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| Concerning My Neighbors, the Hittites | |
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| Watermelons | |
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| Eyes Fastened With Pins | |
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| Empire of Dreams | |
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| Prodigy | |
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| Form the World Doesn't End | |
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| Dear John, Dear Coltrane | |
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| Grandfather | |
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| Nightmare Begins Responsibility | |
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| The Militance of a Photograph in the Passbook of a Bantu Under Detention | |
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| Another Life | |
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| Happy Birthday | |
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| The Sacrifice | |
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| Poem About People | |
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| Dying | |
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| The Hearts | |
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| Shirt | |
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| Heroic Simile | |
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| Meditation at Lagunitas | |
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| Between the Wars | |
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| Misery and Splendor | |
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| Beach Glass | |
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| Imago | |
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| Stacking the Straw | |
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| Medusa | |
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| Elegy in an Abandoned Boatyard | |
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| The Roundhouse Voices | |
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| Lake Drummond Dream | |
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| From Taking Notice (7, 11, 14, 25) | |
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| Ballad of Ladies Lost and Found | |
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| Nights of 1964-66: The Old Reliable | |
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| Nabokov's Blues | |
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| Onions | |
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| 107th and Amsterdam | |
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| Dire Cure | |
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| You Kindly | |
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| The Promise | |
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| The Glass | |
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| The Feelings | |
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| Messengers | |
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| The Drowned Children | |
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| The Garden | |
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| Palais Des Arts | |
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| Mock Orange | |
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| Eros | |
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| Black Soap | |
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| The Microscope in Winter | |
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| Streamers | |
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| H | |
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| "or anything resembling it" | |
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| Erolog | |
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| The White Notebook | |
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| The Spire | |
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| The Lotus Flowers | |
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| Song and Story | |
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| Winter Field | |
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| Paired Things | |
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| Mirage Oases | |
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| A Cat/ A Future | |
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| The Old Cosmologists | |
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| That Will to Divest | |
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| Drops in the Bucket | |
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| Providence | |
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| Camouflaging the Chimera | |
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| Facing It | |
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| Ode to the Maggot | |
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| Dia de los Muertos | |
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| The Typewriter's the Kind | |
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| From 20,000 Feet | |
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| Numberless | |
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| Auto | |
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| Fast Break | |
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| A Short Lexicon of Torture in the Eighties | |
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| My Father's Back | |
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| Over and Over Stitch | |
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| San Sepolcro | |
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| Orpheus and Eurydice | |
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| Ebbtide | |
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| Adolescence - II | |
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| Parsley | |
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| Canary | |
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| Broadway | |
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| Brilliance | |
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| A Display of Mackerel | |
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| Door to the River | |
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| The Paperweight | |
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| Signs | |
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| Supernatural Love | |
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| Chiffon Morning | |
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| Peonies | |
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| You Come When I Call You | |
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| Black Mane | |
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| This Hour and What Is Dead | |
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| Pillow | |
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| One Heart | |
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| Dwelling | |
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| The Compass | |
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