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Summary
Summary
"The editing is more than brilliant- It is nearly unimaginable how the Library of America team managed to do so much so well. . . . Every possible kind of poem is here in its best examples. No one has ever done a better anthology of modern American poetry, or even come close." - Talk
This second volume of the landmark two-volume Library of America anthology of twentieth-century poetry, organized chronologically by the poets' birthdates, takes the reader from E.E. Cummings (1894-1962) to May Swenson (1913-1989). In the wake of the modernist renaissance, American poets continued to experiment with new techniques and themes, while the impact of the Depression and World War II and the continuing political struggle of African Americans became part of the fabric of a literature in transition. New schools and definitions of poetry seemed often to divide the literary scene. This was the era of the Harlem Renaissance, the Objectivists, the Fugitives, the proletarian poets. It was also an era of vigorously individuated voices-knotty, defiant, sometimes eccentric.
The range of tone and subject matter is immense- here are Melvin B. Tolson's swirlingly allusive Harlem portraits, Phyllis McGinley's elegant verse transcriptions of suburbia, May Swenson's playful meditations on the laws of physics. The diversity of formal approaches includes the extreme linguistic experiments of Eugene Jolas and Abraham Lincoln Gillespie, Rolfe Humphries's adaptation of traditional Welsh meter, the haiku of Richard Wright, the ballads of Helen Adam and Elder Olson, the epigrams of J.V. Cunningham. A selection of light verse is joined by lyrics from the era's greatest songwriters, including Robert Johnson, Woody Guthrie, and Ira Gershwin. Several important long poems are presented complete, including Hart Crane's The Bridge , Louis Zukofsky's Poem beginning "The" and Robert Penn Warren's Audubon- A Vision . Rounding out the volume are such infrequently anthologized figures as Vladimir Nabokov, James Agee, Tennessee Williams, and John Cage.
LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation's literary heritage by publishing, and keeping permanently in print, America's best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.
Author Notes
Robert Hass is one of America's most acclaimed poets, winner of both the National Book Award and the Pulitzer Prize. He was poet laureate of the United States from 1995 to 1997.
John Hollander (1929-2013) published nearly two dozen books of poetry, including Selected Poetry (1993), Figurehead (1999), and A Draft of Light (2008), as well as five books of criticism. He received the Bollingen Prize and a MacArthur Fellowship, and was Sterling Professor of English at Yale University.
Carolyn Kizer (1925-2014) was the author of more than a dozen works of poetry, prose, and translation. She won the Pulitzer Prize for Poetry in 1985.
Nathaniel Mackey is a poet, novelist, anthologist, literary critic, and editor. He is the Reynolds Price Professor of Creative Writing at Duke University and a Chancellor of The Academy of American Poets.
Marjorie Perloff teaches courses and writes on twentieth and twenty-first century poetry and poetics. She is Professor Emerita of English at Stanford University and Florence R. Scott Professor of English Emerita at the University of Southern California.
Reviews (4)
Publisher's Weekly Review
These two volumes make up the first half of the largest anthology of 20th-century American poetry ever attempted. Over 200 poets are represented, all born before 1914, and presented in birth-date order. The scale here is unprecedented, and the spectrum broad, inclusive and generous. The effect is breathtaking. The first volume begins with anonymous ballads, establishing a theme of popular song that is sustained throughout both volumes, including blues, folks songs and Broadway tunes. This suggests the music that was in the air at the time much of this work was being written, as well as asserting the value of these songs as poetry in their own right. "I can tell the wind is rising/ leaves trembling on the trees/ umm hmm hmm hmm/ all I need my little sweet woman/ and to keep my company" (Robert Johnson, vol. 2). The emphasis in vol. 1 is on the richness of modernism, with enormous selections of Robert Frost, Gertrude Stein, Wallace Stevens, Ezra Pound, William Carlos Williams, H.D., Marianne Moore and T.S. Eliot. Several of these are long enough to comprise an entire volume of selected poems. (Mina Loy gets more than the usual page or two.) The selections are solidly edited, presenting the most representative and well-known poems across each writer's oeuvre. The second volume includes many more poets, and tends toward shorter selections, though Hart Crane is featured prominently. Multiple and simultaneous layers of American poetics are represented side-by-side in both volumes: lyricism, early confessional poetry, Imagism, light verse, Objectivism, the Harlem Renaissance, hoaxes, the Fugitives, among others. One of the greatest pleasures of these books is discovering (or re-discovering) poets like Abraham Lincoln Gillespie, Lola Ridge, John G. Neihardt or dadaist Elsa Von Freytag-Loringhoven, energetic and distinct poets who have long since been dropped from most cullings, or were never included in the first place. This anthology, edited by Robert Hass, John Hollander, Carolyn Kizer, Nathaniel Mackey and Marjorie Perloff, will be an invaluable and lasting resource to anyone interested in American poetry. Its inclusive take on the multiplicity of work leaves all the differences intact, all the layers in context. It brilliantly illuminates the shifting substance of American poetry. (Apr.) FYI: Geoffrey O'Brien is editor-in-chief of the Library of America, and the author of The Times Square Story and other nonfiction, as well as of Floating City: Selected Poems 1978-1995. His The Browser's Ecstasy: A Meditation on Reading is due from Counterpoint in June. (c) Copyright PWxyz, LLC. All rights reserved
Booklist Review
It seems awfully presumptuous to be presenting the essence of twentieth-century American poetry before many think the century is over. That isn't, however, quite what these two fat books are about. Only the work of poets born before 1914 is in them, which makes them seem less vainglorious. But think what glories that cutoff allows. The acknowledged twentieth-century members of the great American poets club--Frost, Stevens, Williams, Pound, Eliot, and Crane--are generously represented. Half as generously present are those whose adherents clamor for their membership: Robinson, H. D. (Hilda Doolittle), Jeffers, Moore, Cummings, Hughes, Warren, and Bishop. It is a brow raiser and an indication of how the critical wind is blowing to see Louis Zukofsky and Charles Olson each accorded enough pages to put them in the clubhouse lobby, too. As in the magnificent American Poetry: The Nineteenth Century (2v., 1993), more than highbrow stuff is included. The whole shebang opens with five anonymous ballads, including "Casey Jones" and "The Titanic," and some of ethnologist Frances Densmore's versions of Chippewa songs; popular newspaper verse by Don Marquis and Franklin P. Adams; blues by W. C. Handy and Ma Rainey; and songs by Berlin, Porter, Gershwin, Harburg, Hart, Loesser, and others are right where their writers' birth years put them. And it is sheer poetry-loving fun to discover names even the phenomenally well read perhaps won't know, such as Elsa von Freytag-Loringhoven, and sample their traces. No preface rationalizing choices and proportions appears, but surely no apologies are needed. A wonderful set. Pray for v.3 et seq. --Ray Olson
Choice Review
This handsome, practical two-volume anthology is a typical Library of America text: a simple but visually pleasing page layout; an attractive, readable typeface; thin paper. Unfortunately, the subtitle's claim to cover the 20th century is a serious exaggeration, since the set concludes with selections from Karl Shapiro and May Swenson and includes no poets born after 1913. Both volumes contain excellent addenda to aid the beginning and general reader: biographical notes (containing significant bibliographical information about each writer), textual notes, explanatory notes, and indexes--title and first line (together), and author. The set presents a good sampling of work by the major poets (e.g., Stevens is represented with 36 poems over 61 pages), while also recovering significant writers who were not raked up into the modernist canon during the century itself. A good example of the latter is Emanuel Carnevali, an Italian immigrant who came to the US to avoid conscription during WW I, and who played a role in the literary magazines during the 1920s, publishing in The Little Review, The Modern Review, and Poetry. Recommended especially for beginning and general readers of poetry and for all public libraries. D. Garrison; Spalding University
Library Journal Review
Part of the distinguished Library of America series, this impressive anthology was edited by Robert Hass, John Hollander, Carolyn Kizer, Nathaniel Mackey, and Marjorie Perloff, who arranged the poets chronologically by date of birth. Readers will appreciate the diversity of the poetry, including generous selections of the high moderns (Robert Frost, e.e. cummings, Wallace Stevens, Hart Crane, Elizabeth Bishop, and Theodore Roethke). There is also vers de societ (Dorothy Parker, Phyllis McGinley, Ogden Nash, and Virginia Adair). African American writers include Arna Bontemps, Langston Hughes, Sterling Brown, Richard Wright, and Claude McKay. Even musicians and composers are well represented (Woody Guthrie, Bessie Smith, Cole Porter, Ira Gershwin, and Oscar Hammerstein). The two volumes contain more than 1500 poems by over 200 different poets, with excellent biographical and textual notes and an index of first lines. Essential for all poetry collections.--Daniel L. Guillory, Millikin Univ., Findlay, IL (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Excerpts
Excerpts
Chapter One R. P. Blackmur 1904-1965 Mirage The wind was in another country, and the day had gathered to its heart of noon the sum of silence, heat, and stricken time. Not a ripple spread. The sea mirrored perfectly all the nothing in the sky. We had to walk about to keep our eyes from seeing nothing, and our hearts from stopping at nothing. Then most suddenly we saw horizon on horizon lifting up out of the sea's edge a shining mountain sun-yellow and sea-green; against it surf flung spray and spume into the miles of sky. Somebody said mirage, and it was gone, but there I have been living ever since. BLIND LEMON JEFFERSON (1897-1929) Long Distance Moan I'm flying to South Carolina I gotta go there this time I'm flying to South Carolina I gotta go there this time Woman in Dallas Texas is 'bout to make me lose my mind Long distance, long distance will you please give me a credit call Long distance, long distance will you give me a please cr-credit call Want to talk to my gal in South Carolina who looks like a Indian squaw Just want to ask my baby what in the world is she been doing I want to ask my baby what in the world is she been doing Give your loving to another joker and it's sure gonna be my ruin Hey long distance I can't help but moan Mmmmmmmmmmmmmmmm I can't help but moan My baby's voice sound so sweet oh I'm gonna break this telephone You don't know you love your rider till she is so far from you You don't know you love your rider until she's so far from you You can get long distance moan and you don't care what you do I say no use standing and buzzing to get my brownie off my mind No use standing and bawling get my baby off my mind This long distance moan about to worry me to death this time Copyright © 2000 Literary Classics of the United States, Inc.. All rights reserved.
Table of Contents
"All in green went my love riding" | p. 1 |
"in Just-/spring when the world is mud-" | p. 2 |
"Tumbling-hair/picker of buttercups" | p. 3 |
"Humanity i love you" | p. 3 |
"O sweet spontaneous" | p. 4 |
"stinging/gold swarms" | p. 5 |
"between green/mountains" | p. 6 |
"Babylon slim/-ness of" | p. 6 |
"ta/ppin/g/toe" | p. 7 |
"Buffalo Bill's/defunct" | p. 7 |
"the Cambridge ladies who live in furnished souls" | p. 8 |
"god pity me whom(god distinctly has)" | p. 8 |
"Dick Mid's large bluish face without eyebrows" | p. 9 |
"Spring is like a perhaps hand" | p. 9 |
Poem, or Beauty Hurts Mr. Vinal | p. 10 |
"she being Brand" | p. 12 |
"on the Madam's best april the" | p. 13 |
Memorabilia | p. 14 |
"next to of course god america i" | p. 15 |
"lis/-ten//you know what i mean when" | p. 15 |
"my sweet old etcetera" | p. 16 |
"Among/these/red pieces of" | p. 17 |
"in spite of everything" | p. 18 |
"since feeling is first" | p. 18 |
"i sing of Olaf glad and big" | p. 18 |
"twi-/is -Light bird" | p. 20 |
"a clown's smirk in the skull of a baboon" | p. 20 |
"somewhere i have never travelled, gladly beyond" | p. 21 |
"r-p-o-p-h-e-s-s-a-g-r" | p. 22 |
"the boys i mean are not refined" | p. 22 |
"as freedom is a breakfastfood" | p. 23 |
"anyone lived in a pretty how town" | p. 24 |
"my father moved through dooms of love" | p. 25 |
"plato told" | p. 27 |
"pity this busy monster, manunkind" | p. 28 |
"a grin without a" | p. 29 |
Proud Riders | p. 30 |
Europa | p. 31 |
Test Paper | p. 32 |
From the Green Book of Yfan | p. 33 |
Mater Dolorosa | p. 35 |
Words of an Old Woman | p. 36 |
Hasbrouck and the Rose | p. 37 |
Bill Gets Burned | p. 39 |
"On Brooklyn Bridge I saw a man drop dead" | p. 42 |
"I met in a merchant's place" | p. 42 |
"The shopgirls leave their work" | p. 42 |
"How shall we mourn you who are killed and wasted" | p. 42 |
"My work done, I lean on the window-sill" | p. 43 |
"In the shop, she, her mother, and grandmother" | p. 43 |
The Idiot | p. 43 |
"She who worked patiently" | p. 43 |
Epidemic | p. 43 |
"Her work was to count linings--" | p. 43 |
"The house-wreckers have left the door and a staircase" | p. 44 |
Aphrodite Vrania | p. 44 |
April | p. 44 |
"Out of the hills the trees bulge" | p. 44 |
"How difficult for me is Hebrew" | p. 44 |
"I have learnt the Hebrew blessing before eating bread" | p. 44 |
"After I had worked all day at what I earn my living" | p. 44 |
"The Hebrew of your poets, Zion" | p. 45 |
"Though our thoughts often, we ourselves" | p. 45 |
"Among the heaps of brick and plaster lies" | p. 45 |
Epitaphs | p. 45 |
Millinery District ["The clouds ..."] | p. 46 |
"A dead gull in the road" | p. 47 |
"I like this secret walking" | p. 47 |
Rainy Season | p. 47 |
"Of course, we must die" | p. 48 |
My grandfather, dead long before I was born" | p. 48 |
"A grove of small trees, branches thick with berries" | p. 48 |
Millinery District ["Many fair hours ..."] | p. 48 |
Similes | p. 49 |
Epitaph | p. 49 |
Free Verse | p. 49 |
from Early History of a Writer | p. 50 |
Empty Bed Blues | p. 57 |
Everyday Alchemy | p. 59 |
Thirst | p. 59 |
To One Loved Wholly Within Wisdom | p. 59 |
To Mr. Maunder Maunder, Professional Poet | p. 60 |
To the Powers of Desolation | p. 61 |
To the Natural World: at 37 | p. 61 |
Try Tropic | p. 62 |
All Around the Town | p. 63 |
Bounding Line | p. 64 |
Hymn to Yellow | p. 64 |
The Weed | p. 65 |
Fructus | p. 66 |
Reapers | p. 68 |
Cotton Song | p. 68 |
Georgia Dusk | p. 69 |
Nullo | p. 70 |
Evening Song | p. 70 |
Portrait in Georgia | p. 71 |
Seventh Street | p. 71 |
Storm Ending | p. 72 |
Her Lips Are Copper Wire | p. 72 |
Gum | p. 73 |
The Gods Are Here | p. 74 |
This Amber Sunstream | p. 75 |
Axle Song | p. 75 |
The Near House | p. 76 |
Midland | p. 77 |
So Simple | p. 77 |
Where I Saw the Snake | p. 77 |
The First Poem | p. 78 |
Lamentations | p. 79 |
Winter Nocturne: The Hospital | p. 80 |
"To an Amiable Child" | p. 81 |
Creatures in the Zoo | p. 82 |
A Purplexicon of Dissynthegrations | p. 84 |
Ol' Man River | p. 87 |
Little Girl Blue | p. 89 |
Bewitched, Bothered and Bewildered | p. 90 |
Dead Man's Corner | p. 92 |
Epitaphs | p. 93 |
A House of the Eighties | p. 94 |
The Omelet of A. MacLeish | p. 95 |
Newsreel LIII | p. 99 |
Waltz Against the Mountains | p. 101 |
Something Starting Over | p. 104 |
Noon | p. 106 |
I Can't Get Started | p. 107 |
They All Laughed | p. 109 |
Elegy for Melusine from the Intensive Care Ward | p. 111 |
Red-Headed Intern, Taking Notes | p. 113 |
Scene: A Bedside in the Witches' Kitchen | p. 113 |
Brother, Can You Spare a Dime? | p. 115 |
Insects | p. 117 |
A History of the Caesars | p. 117 |
Medusa | p. 119 |
Knowledge | p. 120 |
Women | p. 120 |
The Alchemist | p. 121 |
My Voice Not Being Proud | p. 121 |
Men Loved Wholly Beyond Wisdom | p. 122 |
Sub Contra | p. 122 |
Cassandra | p. 123 |
Winter Swan | p. 123 |
Dark Summer | p. 123 |
Late | p. 124 |
Song | p. 124 |
Short Summary | p. 125 |
Roman Fountain | p. 125 |
Evening-Star | p. 126 |
Baroque Comment | p. 126 |
Kept | p. 127 |
Heard by a Girl | p. 127 |
Several Voices Out of a Cloud | p. 128 |
Musician | p. 128 |
Zone | p. 129 |
Night | p. 129 |
Morning | p. 130 |
The Dragonfly | p. 131 |
Sermon | p. 132 |
Serenade | p. 132 |
Kiss | p. 133 |
Almost a God | p. 134 |
Long Distance Moan | p. 135 |
from Elegy in the Manner of a Requiem in Memory of D. H. Lawrence | p. 137 |
Waiter | p. 140 |
History of Education | p. 140 |
Slow Curtain | p. 141 |
Why Must You Know? | p. 141 |
Would You Think? | p. 142 |
Fish Food: An Obituary to Hart Crane | p. 143 |
Come Over and Help Us | p. 144 |
Anathema. Maranatha! | p. 147 |
In the Bathtub, to Mnemosyne | p. 148 |
Esprit d'Escalier | p. 149 |
Cross Questions | p. 149 |
from John Brown's Body | p. 150 |
American Names | p. 154 |
Cotton Mather | p. 156 |
Daniel Boone | p. 156 |
Metropolitan Nightmare | p. 157 |
Winter Tenement | p. 160 |
Ernest | p. 161 |
Vision | p. 162 |
Photoheliograph | p. 165 |
from Chorus for Survival | p. 166 |
The Cage of Voices | p. 168 |
from Libretto for the Republic of Liberia | p. 170 |
from Harlem Gallery | p. 176 |
April Mortality | p. 183 |
Ghostly Tree | p. 183 |
The Rounds and Garlands Done | p. 184 |
The Moon and Spectator | p. 185 |
Fragmentary Stars | p. 185 |
The Horn | p. 186 |
The Figurehead | p. 187 |
Grapes Making | p. 187 |
Chaplinesque | p. 189 |
For the Marriage of Faustus and Helen | p. 190 |
Voyages | p. 194 |
Repose of Rivers | p. 199 |
The Wine Menagerie | p. 199 |
At Melville's Tomb | p. 201 |
The Bridge | p. 202 |
O Carib Isle! | p. 242 |
The Broken Tower | p. 243 |
Take My Hand, Precious Lord | p. 245 |
Dumb | p. 246 |
Moment | p. 246 |
Fern Song | p. 246 |
Frog Song | p. 247 |
True Western Summer | p. 248 |
from The Indians in the Woods | p. 249 |
Girl Help | p. 251 |
The Reader | p. 252 |
Winter Garden | p. 252 |
Helen Grown Old | p. 253 |
For the Father of Sandro Gulotta | p. 254 |
The Ancient Ones: Betatakin | p. 255 |
Garden Note I, Los Altos | p. 256 |
Garden Note II, March | p. 256 |
from The Wild Party | p. 257 |
from Lolita | p. 263 |
On Translating "Eugene Onegin" | p. 265 |
Santo Domingo Corn Dance | p. 266 |
Mr. Pope | p. 269 |
Ode to the Confederate Dead | p. 269 |
The Twelve | p. 272 |
Last Days of Alice | p. 273 |
The Wolves | p. 274 |
Aeneas at Washington | p. 275 |
The Ivory Tower | p. 276 |
The Mediterranean | p. 277 |
Sonnets at Christmas | p. 279 |
The Swimmers | p. 280 |
February Ground | p. 283 |
Walt Whitman | p. 285 |
Two Songs of Advent | p. 288 |
The Magpie's Shadow | p. 288 |
The Solitude of Glass | p. 291 |
October | p. 292 |
Vacant Lot | p. 292 |
The Cold | p. 293 |
Nocturne | p. 294 |
The Barnyard | p. 294 |
Wild Sunflower | p. 295 |
The Realization | p. 296 |
Apollo and Daphne | p. 296 |
The Fable | p. 297 |
The Fall of Leaves | p. 297 |
The Slow Pacific Swell | p. 298 |
To a Young Writer | p. 299 |
By the Road to the Sunnyvale Air-Base | p. 300 |
Elegy on a Young Airedale Bitch Lost Two Years Since in the Salt-Marsh | p. 300 |
On Teaching the Young | p. 301 |
Time and the Garden | p. 301 |
In Praise of California Wines | p. 302 |
To the Moon | p. 303 |
Long Gone | p. 304 |
Scotty Has His Say | p. 305 |
Sister Lou | p. 306 |
Southern Road | p. 308 |
Memphis Blues | p. 309 |
Ma Rainey | p. 311 |
Slim in Atlanta | p. 313 |
Children's Children | p. 314 |
Chillen Get Shoes | p. 315 |
Sporting Beasley | p. 316 |
Cabaret | p. 318 |
Old Lem | p. 321 |
A Broken View | p. 323 |
Onion Fields | p. 324 |
Earthworm | p. 324 |
Slow | p. 325 |
By Night | p. 325 |
The Curse | p. 326 |
While I Slept | p. 326 |
The Sound I Listened For | p. 326 |
As Easily As Trees | p. 327 |
Waxwings | p. 327 |
Pitcher | p. 328 |
Cypresses | p. 328 |
Swimmer | p. 329 |
Farm Boy After Summer | p. 329 |
Museum Vase | p. 330 |
Ordovician Fossil Algae | p. 331 |
Sounds | p. 331 |
A student who sat facing me on the Osaka express | p. 332 |
Beer Bottles | p. 332 |
Waka | p. 334 |
An Ancient Revisits | p. 335 |
As Well As Any Other | p. 335 |
Prisms | p. 336 |
Lucrece and Nara | p. 336 |
O Vocables of Love | p. 337 |
Faith Upon the Waters | p. 338 |
Sea, False Philosophy | p. 339 |
The Map of Places | p. 339 |
Chloe or... | p. 340 |
Take Hands | p. 341 |
The World and I | p. 341 |
The Wind, the Clock, the We | p. 342 |
Nothing So Far | p. 343 |
Divestment of Beauty | p. 344 |
Because of Clothes | p. 345 |
With the Face | p. 346 |
Reconnaissance | p. 347 |
Southern Mansion | p. 348 |
Dark Girl | p. 348 |
A Black Man Talks of Reaping | p. 349 |
Green Light | p. 350 |
Evening Song | p. 351 |
1933 | p. 352 |
Escape | p. 354 |
Dirge | p. 356 |
Portrait | p. 357 |
American Rhapsody (4) | p. 358 |
Literary | p. 359 |
How Do I Feel? | p. 360 |
Art Review | p. 361 |
Reception Good | p. 361 |
Beware | p. 363 |
4 A.M. | p. 363 |
Bryce and Tomlins | p. 365 |
The Negro Speaks of Rivers | p. 367 |
Aunt Sue's Stories | p. 367 |
When Sue Wears Red | p. 368 |
Young Prostitute | p. 369 |
My People | p. 369 |
Dream Variations | p. 369 |
Subway Face | p. 370 |
I, Too | p. 370 |
Suicide's Note | p. 371 |
Summer Night | p. 371 |
Strange Hurt | p. 372 |
A House in Taos | p. 372 |
Railroad Avenue | p. 374 |
Sea Calm | p. 375 |
Drum | p. 375 |
Cubes | p. 375 |
Little Lyric (Of Great Importance) | p. 377 |
Evil | p. 377 |
Songs | p. 377 |
Luck | p. 378 |
Curious | p. 378 |
American Heartbreak | p. 378 |
from Montage of a Dream Deferred | p. 379 |
Spring Comes to Murray Hill | p. 396 |
Reflection on Ice-Breaking | p. 396 |
The Terrible People | p. 397 |
Song of the Open Road | p. 398 |
Very Like a Whale | p. 398 |
A Necessary Dirge | p. 399 |
Portrait of the Artist as a Prematurely Old Man | p. 400 |
The Germ | p. 402 |
Glossina Morsitans, or, the Tsetse | p. 402 |
Samson Agonistes | p. 402 |
Inter-Office Memorandum | p. 403 |
Which the Chicken, Which the Egg? | p. 404 |
For Paul | p. 405 |
Yet Do I Marvel | p. 406 |
Atlantic City Waiter | p. 406 |
Incident | p. 407 |
Heritage | p. 407 |
For My Grandmother | p. 411 |
For a Lady I Know | p. 411 |
For One Who Gayly Sowed His Oats | p. 411 |
For Hazel Hall, American Poet | p. 411 |
From the Dark Tower | p. 412 |
The Subway | p. 413 |
A New York Face | p. 413 |
"I had heard it's a fight. At the first clammy touch," | p. 414 |
"Smelling or feeling of the several holes," | p. 415 |
"Ya se van los pastores," | p. 416 |
Shore Bird | p. 417 |
Bath of Aphrodite | p. 417 |
The Food of Birds | p. 419 |
The Net Breaker | p. 419 |
Learning the Language | p. 420 |
"Remember my little granite pail?" | p. 421 |
"The clothesline post is set," | p. 421 |
"There's a better shine," | p. 421 |
"What horror to awake at night," | p. 421 |
"Paul/when the leaves/fall," | p. 422 |
"The death of my poor father," | p. 422 |
"Woman in middle life," | p. 423 |
"He lived--childhood summers," | p. 423 |
"I rose from marsh mud," | p. 424 |
The Graves | p. 424 |
"My friend tree," | p. 425 |
"The men leave the car," | p. 425 |
"My life is hung up," | p. 425 |
"Get a load/of April's," | p. 425 |
Poet's Work | p. 426 |
"I married," | p. 426 |
My Life By Water | p. 427 |
"Far reach/of sand," | p. 428 |
"Stone/and that hard/contact--" | p. 428 |
Sewing a Dress | p. 429 |
Paean to Place | p. 429 |
"Not all harsh sounds displease--" | p. 436 |
Darwin | p. 436 |
The January of a Gnat | p. 441 |
Amulet | p. 441 |
Figures in an Ancient Ink | p. 442 |
The Lobster | p. 443 |
Lying in Bed on a Summer Morning | p. 444 |
Young Girl | p. 445 |
Americana 3 | p. 447 |
To an Anti-Semite | p. 448 |
Discoveries, Trade Names, Genitals, and Ancient Instruments | p. 448 |
Two Variations on a Theme | p. 449 |
Instructions to the Player | p. 449 |
The Avocado Pit | p. 450 |
Redwing | p. 451 |
"One grey and foaming day," | p. 452 |
Mirage | p. 453 |
Seas Incarnadine | p. 453 |
Since There's No Help... | p. 454 |
The Communiques from Yalta | p. 454 |
Sunt Lacrimae Rerum et Mentem Mortalia Tangunt | p. 455 |
This Fevers Me | p. 456 |
The Groundhog | p. 457 |
'I Walked Over the Grave of Henry James,' | p. 458 |
The Fury of Aerial Bombardment | p. 458 |
On a Squirrel Crossing the Road in Autumn, in New England | p. 459 |
La Crosse at Ninety Miles an Hour | p. 460 |
Gnat on My Paper | p. 461 |
The Old Professor | p. 463 |
Four and a Half | p. 463 |
I Sent Thee Late | p. 465 |
Poem beginning "The," | p. 465 |
"Not much more than being," | p. 477 |
"Cocktails," | p. 477 |
Ferry | p. 478 |
Tibor Serly | p. 479 |
"in that this happening" | p. 481 |
"To my wash-stand" | p. 481 |
"When the crickets" | p. 483 |
"It's hard to see but think of a sea" | p. 484 |
"The lines of this new song are nothing" | p. 485 |
"Can a mote of sunlight defeat its purpose" | p. 485 |
(Ryokan's scroll) | p. 485 |
Xenophanes | p. 486 |
"As To How Much" | p. 486 |
Shang Cup | p. 487 |
"A" 11 | p. 488 |
from "A" 12 | p. 489 |
Advice to a Man Who Lost a Dog | p. 496 |
Sappho's Leap | p. 497 |
Christ Is a Dixie Nigger | p. 498 |
Sam Jackson | p. 499 |
I Can't Give You Anything But Love | p. 500 |
The Science of the Night | p. 501 |
The Dragonfly | p. 502 |
The Testing-Tree | p. 504 |
The Catch | p. 507 |
The Quarrel | p. 508 |
Route Six | p. 508 |
Touch Me | p. 510 |
Twelfth Night | p. 511 |
Spring Comes to the Suburbs | p. 512 |
The 5:32 | p. 512 |
Portrait of Girl with Comic Book | p. 513 |
Spring, Coast Range | p. 514 |
Andree Rexroth | p. 515 |
The Signature of All Things | p. 515 |
Lyell's Hypothesis Again | p. 518 |
It Is a German Honeymoon | p. 519 |
On Flower Wreath Hill | p. 521 |
from The Love Poems of Marichiko | p. 527 |
The Pavilion on the Pier | p. 533 |
Epitaph for the Old Howard | p. 533 |
The Return: An Elegy | p. 535 |
Bearded Oaks | p. 538 |
Where the Slow Fig's Purple Sloth | p. 539 |
Audubon: A Vision | p. 540 |
Birth of Love | p. 557 |
Evening Hawk | p. 559 |
Heart of Autumn | p. 560 |
Vision | p. 560 |
Muted Music | p. 562 |
End of the Flower-World | p. 564 |
Bread | p. 564 |
No Images | p. 566 |
The Death Bed | p. 566 |
Conception | p. 567 |
Papermill | p. 568 |
North Philadelphia Trenton and New York | p. 569 |
Vergil Georgics 1.489-514 | p. 570 |
Bottled | p. 571 |
Sonnet to a Negro in Harlem | p. 572 |
Magalu | p. 573 |
Gloria | p. 574 |
P.O.E. | p. 580 |
A Point of View | p. 581 |
Clause for a Covenant | p. 582 |
Elegy | p. 582 |
Laudare | p. 583 |
Helianthus | p. 584 |
The Girl by the River | p. 585 |
Poems for My Cousin | p. 587 |
Yellow | p. 590 |
Discrete Series | p. 591 |
Eclogue | p. 601 |
Image of the Engine | p. 602 |
From Disaster | p. 604 |
Psalm | p. 605 |
The Occurrences | p. 606 |
Route | p. 606 |
But So As By Fire | p. 615 |
In Memoriam Charles Reznikoff | p. 616 |
The Heron | p. 617 |
The Bat | p. 617 |
Cuttings | p. 618 |
Cuttings (later) | p. 618 |
Root Cellar | p. 618 |
Old Florist | p. 619 |
Frau Bauman, Frau Schmidt, and Frau Schwartze | p. 619 |
My Papa's Waltz | p. 620 |
The Lost Son | p. 621 |
Four for Sir John Davies | p. 626 |
Elegy for Jane | p. 630 |
The Waking | p. 630 |
I Knew a Woman | p. 631 |
A Walk in Late Summer | p. 632 |
The Rose | p. 633 |
The Thing | p. 637 |
In a Dark Time | p. 638 |
I Have Seen Black Hands | p. 639 |
The FB Eye Blues | p. 641 |
Selected Haiku | p. 642 |
Mune Rune | p. 646 |
The Huntsman | p. 647 |
Shallow-Water Warning | p. 649 |
"Not met and marred with the year's whole turn of grief" | p. 651 |
"So it begins. Adam is in his earth" | p. 651 |
"Now stands our love on that still verge of day" | p. 652 |
"This little time the breath and bulk of being" | p. 652 |
To Walker Evans | p. 653 |
"Wake up Threeish" | p. 654 |
Shoreline | p. 655 |
Logging Trestle | p. 656 |
The Field | p. 657 |
Static | p. 658 |
The Solitary | p. 658 |
Probably Nobody | p. 659 |
The Pleiades | p. 659 |
Lethe | p. 660 |
Blues in the Night | p. 661 |
Midnight Sun | p. 662 |
The Four Black Bogmen | p. 664 |
Casualty | p. 666 |
Paris--Christmas 1938 | p. 666 |
First Love | p. 667 |
Fixin' to Die | p. 669 |
Manuscript with Illumination | p. 670 |
Horae | p. 671 |
Et Quidquid Aspiciebam Mors Erat | p. 673 |
Farewell | p. 675 |
Mutations | p. 676 |
History | p. 676 |
Souls Lake | p. 677 |
South Side | p. 678 |
Spring Shade | p. 679 |
Luck, Be a Lady | p. 680 |
The Mind's Disguise | p. 682 |
Memory of Quiet | p. 682 |
Height | p. 683 |
La Preface | p. 684 |
These Days | p. 685 |
In Cold Hell, in Thicket | p. 685 |
The Moon Is the Number 18 | p. 691 |
Merce of Egypt | p. 692 |
As the Dead Prey Upon Us | p. 694 |
Variations Done for Gerald Van De Wiele | p. 702 |
from The Maximus Poems Letter 3 | p. 706 |
Maximus, to himself | p. 710 |
The Ocean | p. 712 |
"flower of the underworld" | p. 714 |
"I live underneath/the light of day" | p. 714 |
Crocus Air | p. 716 |
Flowering Quince | p. 716 |
The U.S. Sailor with the Japanese Skull | p. 717 |
Winslow Homer | p. 718 |
The Orange Tree | p. 719 |
Kites: Ars Poetica | p. 720 |
The Map | p. 721 |
The Man-Moth | p. 722 |
Sleeping on the Ceiling | p. 723 |
Roosters | p. 724 |
The Fish | p. 728 |
Over 2000 Illustrations and a Complete Concordance | p. 730 |
The Bight | p. 732 |
At the Fishhouses | p. 733 |
The Prodigal | p. 736 |
The Shampoo | p. 736 |
Song for the Rainy Season | p. 737 |
The Armadillo | p. 739 |
Sestina | p. 740 |
Sandpiper | p. 742 |
Twelfth Morning; or What You Will | p. 742 |
In the Waiting Room | p. 743 |
Crusoe in England | p. 746 |
One Art | p. 751 |
Sonnet | p. 752 |
Dream Vision | p. 753 |
A Moral Poem | p. 754 |
For My Contemporaries | p. 755 |
Montana Pastoral | p. 755 |
Selected Epigrams | p. 756 |
To What Strangers, What Welcome | p. 758 |
The Evening of the Sixth Day | p. 764 |
The Lordly Hudson | p. 766 |
Stones in My Passway | p. 767 |
Hellhound on My Trail | p. 768 |
Me and the Devil Blues | p. 769 |
Housewife | p. 771 |
All Hallow | p. 771 |
Sale | p. 772 |
"After noon I lie down" | p. 772 |
Album | p. 773 |
Street Corner College | p. 774 |
Religion Is That I Love You | p. 774 |
23rd Street Runs into Heaven | p. 775 |
The Figure Motioned with Its Mangled Hand Towards the Wall Behind It | p. 776 |
The Horses of Yilderlin | p. 777 |
The Origin of Baseball | p. 777 |
The Lions of Fire Shall Have Their Hunting | p. 778 |
Lonesome Boy Blues | p. 779 |
The Airman Who Flew Over Shakespeare's England | p. 780 |
Winter, Never Mind Where | p. 781 |
For T.S.E. Only | p. 781 |
As the Great Horse Rots on the Hill | p. 783 |
Consider the Lilies of the Sea | p. 785 |
Winter Twilight | p. 785 |
The Beanstalk Country | p. 786 |
2 Pages, 122 Words on Music and Dance | p. 787 |
from Composition in Retrospect | p. 788 |
Muscat Pruning | p. 792 |
Tor House | p. 792 |
Rainy Easter | p. 793 |
A Canticle to the Waterbirds | p. 793 |
Gale at Dawn | p. 797 |
Stone Face Falls | p. 798 |
Song in Sligo | p. 800 |
The Grand Canyon | p. 801 |
Grenoble Cafe | p. 804 |
Dust Storm Disaster | p. 805 |
Talking Dust Bowl | p. 807 |
Vigilante Man | p. 808 |
Death Bells | p. 810 |
Moving In | p. 811 |
The Snow Light | p. 812 |
February Days | p. 813 |
Buckroe, After the Season, 1942 | p. 814 |
Exit Amor | p. 815 |
The Fox with the Blue Velvet Band | p. 816 |
The Overturned Lake | p. 816 |
I Wouldn't Put It Past You | p. 817 |
Those Winter Sundays | p. 818 |
Homage to the Empress of the Blues | p. 818 |
Middle Passage | p. 819 |
Runagate Runagate | p. 825 |
Soledad | p. 827 |
The Night-Blooming Cereus | p. 828 |
Ice Storm | p. 830 |
Bone-Flower Elegy | p. 831 |
The Evergreen | p. 832 |
The Book of the Dead | p. 835 |
Ajanta | p. 839 |
The Outer Banks | p. 844 |
The Speed of Darkness | p. 850 |
The Poem as Mask | p. 853 |
Myth | p. 854 |
Monterey | p. 855 |
It Is Sticky in the Subway | p. 856 |
Prospect Park | p. 856 |
Victor Record Catalog | p. 857 |
A Successful Summer | p. 858 |
No Title | p. 859 |
In the Naked Bed, in Plato's Cave | p. 861 |
Sonnet: The Beautiful American Word, Sure | p. 862 |
Far Rockaway | p. 862 |
Tired and Unhappy, You Think of Houses | p. 863 |
In the Slight Ripple, the Mind Perceives the Heart | p. 864 |
The Ballet of the Fifth Year | p. 864 |
Do the Others Speak of Me Mockingly, Maliciously? | p. 865 |
The Heavy Bear Who Goes With Me | p. 866 |
Darkling Summer, Ominous Dusk, Rumorous Rain | p. 867 |
The Mind Is an Ancient and Famous Capital | p. 868 |
Lincoln | p. 869 |
Auto Wreck | p. 871 |
University | p. 872 |
Troop Train | p. 873 |
Full Moon: New Guinea | p. 874 |
Homecoming | p. 875 |
The Alphabet | p. 876 |
The Confirmation | p. 877 |
The First Time | p. 878 |
I Am an Atheist Who Says His Prayers | p. 879 |
The Funeral of Poetry | p. 881 |
Question | p. 882 |
The Centaur | p. 883 |
Almanac | p. 885 |
Riding the "A," | p. 886 |
Distance and a Certain Light | p. 887 |
Colors Without Objects | p. 887 |
Unconscious Came a Beauty | p. 889 |
The Shape of Death | p. 890 |
Electronic Sound | p. 891 |
How Everything Happens (Based on a study of the Wave) | p. 892 |
Bronco Busting, Event #1 | p. 893 |
One of the Strangest | p. 893 |
Shu Swamp, Spring | p. 894 |
Staring at the Sea on the Day of a Death of Another | p. 895 |
Biographical Notes | p. 899 |
Note on the Texts | p. 951 |
Acknowledgments | p. 965 |
Notes | p. 974 |
Index of Titles and First Lines | p. 990 |
Index of Poets | p. 1008 |