Preface |
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xli | |
Realism and Naturalism |
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Historical and Critical Overview |
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2 | (80) |
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STEPHEN CRANE (1871-1900) |
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10 | (6) |
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Black riders came from the sea |
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12 | (1) |
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12 | (1) |
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I stood upon a high place |
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12 | (1) |
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I saw a man pursuing the horizon |
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12 | (1) |
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13 | (1) |
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On the horizon the peaks assembled |
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13 | (1) |
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13 | (1) |
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A man feared that he might find an assassin |
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13 | (1) |
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Do not weep, maiden, for war is kind |
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14 | (1) |
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14 | (1) |
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A man said to the universe |
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15 | (1) |
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15 | (1) |
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A man adrift on a slim spar |
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15 | (1) |
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EDWIN MARKHAM (1852-1940) |
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16 | (3) |
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17 | (1) |
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18 | (1) |
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CHARLOTTE PERKINS GILMAN (1860-1935) |
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19 | (2) |
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20 | (1) |
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21 | (1) |
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EDGAR LEE MASTERS (1868-1950) |
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21 | (5) |
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From Spoon River Anthology |
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22 | (1) |
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22 | (1) |
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23 | (1) |
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24 | (1) |
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24 | (1) |
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25 | (1) |
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25 | (1) |
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EDWIN ARLINGTON ROBINSON (1869-1935) |
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26 | (11) |
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28 | (1) |
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28 | (1) |
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29 | (1) |
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29 | (1) |
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30 | (1) |
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30 | (1) |
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31 | (1) |
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32 | (1) |
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32 | (1) |
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33 | (1) |
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33 | (2) |
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35 | (1) |
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35 | (2) |
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37 | (1) |
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37 | (1) |
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JAMES WELDON JOHNSON (1871-1938) |
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37 | (5) |
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O Black and Unknown Bards |
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39 | (1) |
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40 | (2) |
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PAUL LAURENCE DUNBAR (1872-1906) |
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42 | (3) |
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44 | (1) |
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44 | (1) |
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45 | (1) |
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45 | (1) |
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45 | (1) |
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TRUMBULL STICKNEY (1874-1904) |
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45 | (2) |
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46 | (1) |
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47 | (1) |
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47 | (1) |
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47 | (28) |
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51 | (1) |
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52 | (1) |
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52 | (1) |
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53 | (1) |
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54 | (1) |
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the Death of the Hired Man |
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55 | (4) |
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59 | (3) |
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62 | (1) |
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63 | (1) |
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64 | (1) |
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65 | (1) |
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66 | (1) |
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66 | (1) |
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67 | (1) |
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The Need of Being Versed in Country Things |
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67 | (1) |
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68 | (1) |
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Stopping by Woods on a Snowy Evening |
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68 | (1) |
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68 | (1) |
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Acquainted with the Night |
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69 | (1) |
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70 | (1) |
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70 | (1) |
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71 | (1) |
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Neither Out Far Nor in Deep |
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71 | (1) |
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71 | (1) |
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72 | (1) |
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73 | (1) |
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73 | (1) |
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73 | (2) |
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SARAH N. CLEGHORN (1876-1959) |
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75 | (1) |
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75 | (1) |
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The Survival of the Fittest |
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76 | (1) |
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76 | (1) |
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I Have a Rendezvous with Death |
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77 | (1) |
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JOHN ALLAN WYETH, JR. (1894-1981) |
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77 | (5) |
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78 | (1) |
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79 | (1) |
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79 | (3) |
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Early Modernism: From Imagism to High Modernism |
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Historical and Critical Overview |
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82 | (222) |
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98 | (5) |
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99 | (3) |
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102 | (1) |
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102 | (1) |
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102 | (1) |
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102 | (1) |
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GERTRUDE STEIN (1874-1946) |
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103 | (3) |
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105 | (1) |
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105 | (1) |
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105 | (1) |
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106 | (1) |
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106 | (1) |
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106 | (1) |
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106 | (1) |
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106 | (1) |
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106 | (1) |
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106 | (2) |
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I Hear. You Call, Pine Tree |
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107 | (1) |
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107 | (1) |
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ADELAIDE CRAPSEY (1878-1914) |
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108 | (1) |
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109 | (1) |
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109 | (1) |
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109 | (1) |
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CARL SANDBURG (1878-1967) |
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109 | (5) |
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111 | (1) |
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112 | (1) |
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112 | (1) |
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112 | (1) |
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112 | (1) |
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113 | (1) |
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113 | (1) |
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VACHEL LINDSAY (1879-1931) |
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114 | (4) |
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General William Booth Enters into Heaven |
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115 | (2) |
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Factory Windows Are Always Broken |
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117 | (1) |
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117 | (1) |
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WALLACE STEVENS (1879-1955) |
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118 | (24) |
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122 | (1) |
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Nuances of a Theme by Williams |
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122 | (1) |
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A High-Toned Old Christian Woman |
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122 | (1) |
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123 | (1) |
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124 | (1) |
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Disillusionment of Ten O'Clock |
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124 | (1) |
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124 | (4) |
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128 | (1) |
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128 | (1) |
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To the One of Fictive Music |
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128 | (1) |
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Peter Quince at the Clavier |
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129 | (2) |
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Thirteen Ways of Looking at a Blackbird |
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131 | (2) |
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133 | (1) |
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The Man Whose Pharynx Was Bad |
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133 | (1) |
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134 | (1) |
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The Idea of Order at Key West |
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135 | (1) |
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A Postcard from the Volcano |
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136 | (1) |
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From Notes toward a Supreme Fiction |
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137 | (3) |
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The Course of a Particular |
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140 | (1) |
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Final Soliloquy of the Interior Paramour |
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140 | (1) |
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141 | (1) |
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The Plain Sense of Things |
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141 | (1) |
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142 | (1) |
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WILLIAM CARLOS WILLIAMS (1883-1963) |
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142 | (26) |
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146 | (1) |
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147 | (1) |
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Dedication for a Plot of Ground |
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147 | (1) |
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148 | (1) |
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149 | (1) |
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150 | (1) |
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151 | (1) |
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151 | (1) |
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152 | (1) |
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The Widow's Lament in Springtime |
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152 | (1) |
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153 | (1) |
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154 | (1) |
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155 | (1) |
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156 | (1) |
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The Last Words of My English Grandmother |
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157 | (1) |
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158 | (1) |
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158 | (1) |
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158 | (1) |
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159 | (1) |
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159 | (2) |
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From Asphodel, That Greeny Flower |
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161 | (7) |
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168 | (35) |
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172 | (2) |
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174 | (1) |
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175 | (1) |
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175 | (1) |
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175 | (1) |
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The Coming of War: Actæon |
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175 | (1) |
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176 | (1) |
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176 | (1) |
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177 | (1) |
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In a Station of the Metro |
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177 | (1) |
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The Jewel Stairs' Grievance |
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177 | (1) |
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Lament of the Frontier Guard |
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177 | (1) |
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178 | (1) |
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The River-Merchant's Wife: A Letter |
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179 | (1) |
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179 | (1) |
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180 | (1) |
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From Homage to Sextus Properties |
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180 | (3) |
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183 | (9) |
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192 | (5) |
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197 | (6) |
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Canto I ("And then went down to the ship") |
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197 | (2) |
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199 | (2) |
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Canto LXXXI (Libretto: "Yet I Ere the season died a-cold") |
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201 | (2) |
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H.D. [HILDA DOOLITTLE] (1886-1961) |
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203 | (14) |
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206 | (1) |
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206 | (1) |
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207 | (1) |
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207 | (1) |
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207 | (1) |
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208 | (1) |
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208 | (4) |
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212 | (1) |
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213 | (1) |
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From The Walls Do Not Fall |
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213 | (3) |
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1 ("An incident here and there") |
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213 | (2) |
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2 ("Evil was active in the land") |
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215 | (1) |
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From The Flowering of the Rod |
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216 | (1) |
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6 ("So I would rather drown, remembering-") |
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216 | (1) |
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ROBINSON JEFFERS (1887-1962) |
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217 | (9) |
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220 | (1) |
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220 | (1) |
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Shine, Perishing Republic |
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221 | (1) |
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221 | (1) |
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222 | (1) |
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223 | (1) |
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223 | (1) |
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224 | (1) |
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224 | (1) |
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225 | (1) |
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225 | (1) |
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225 | (1) |
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226 | (1) |
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MARIANNE MOORE (1887-1972) |
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226 | (22) |
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229 | (1) |
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230 | (1) |
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231 | (1) |
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231 | (1) |
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232 | (1) |
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232 | (8) |
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An Egyptian Pulled Glass Bottle in the Shape of a Fish |
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240 | (1) |
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240 | (1) |
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241 | (1) |
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242 | (1) |
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242 | (2) |
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244 | (1) |
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245 | (2) |
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The Mind Is an Enchanting Thing |
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247 | (1) |
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248 | (40) |
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The Love Song of J. Alfred Prufrock |
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251 | (4) |
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255 | (1) |
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The Boston Evening Transcript |
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256 | (1) |
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256 | (1) |
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257 | (1) |
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Sweeney Among the Nightingales |
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257 | (2) |
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259 | (14) |
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273 | (3) |
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276 | (1) |
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277 | (6) |
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283 | (1) |
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283 | (5) |
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E.E. CUMMINGS (1894-1962) |
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288 | (10) |
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290 | (1) |
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290 | (1) |
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the Cambridge ladies who live in furnished souls |
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291 | (1) |
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next to of course god america i |
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291 | (1) |
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i sing of Olaf glad and big |
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291 | (1) |
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somewhere i have never travelled, gladly beyond |
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292 | (1) |
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293 | (1) |
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294 | (1) |
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you shall above all things be glad and young |
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294 | (1) |
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anyone lived in a pretty how town |
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295 | (1) |
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my father moved through dooms of love |
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295 | (2) |
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pity this busy monster, manunkind |
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297 | (1) |
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298 | (1) |
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WITTER BYNNER (1881-1968) and ARTHUR DAMSON FICKE (1883-1945) |
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298 | (6) |
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299 | (1) |
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Opus 104 (Emanuel Morgan) |
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300 | (1) |
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300 | (1) |
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301 | (3) |
The Harlem Renaissance |
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Historical and Critical Overview |
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304 | (46) |
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ANGELINA WELD GRIMKÉ (1880-1958) |
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311 | (3) |
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312 | (1) |
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312 | (1) |
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313 | (1) |
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313 | (1) |
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314 | (4) |
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315 | (1) |
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315 | (1) |
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316 | (1) |
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316 | (1) |
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317 | (1) |
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317 | (1) |
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318 | (3) |
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319 | (1) |
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320 | (1) |
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320 | (1) |
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321 | (1) |
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STERLING A. BROWN (1901-1989) |
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321 | (7) |
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323 | (1) |
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324 | (1) |
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325 | (2) |
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327 | (1) |
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GWENDOLYN BENNETT (1902-1981) |
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328 | (2) |
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329 | (1) |
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329 | (1) |
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LANGSTON HUGHES (1902-1967) |
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330 | (11) |
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The Negro Speaks of Rivers |
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333 | (1) |
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333 | (1) |
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334 | (1) |
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335 | (1) |
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335 | (1) |
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336 | (1) |
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336 | (1) |
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337 | (1) |
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337 | (1) |
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338 | (1) |
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338 | (1) |
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339 | (1) |
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339 | (1) |
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339 | (1) |
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340 | (1) |
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341 | (1) |
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COUNTEE CULLEN (1903-1946) |
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341 | (9) |
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343 | (1) |
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343 | (1) |
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344 | (3) |
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347 | (1) |
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347 | (1) |
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347 | (3) |
Modern Alternatives: Romantics and Neoclassicists |
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Historical and Critical Overview |
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350 | (90) |
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SARA TEASDALE (1884-1933) |
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360 | (4) |
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361 | (1) |
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There Will Come Soft Rains |
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362 | (1) |
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363 | (1) |
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363 | (1) |
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363 | (1) |
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364 | (4) |
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365 | (1) |
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366 | (1) |
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367 | (1) |
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368 | (1) |
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368 | (1) |
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JOHN CROWS RANSOM (1888-1974) |
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368 | (5) |
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Bells for John Whiteside's Daughter |
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370 | (1) |
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371 | (1) |
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371 | (1) |
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372 | (1) |
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372 | (1) |
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373 | (3) |
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374 | (1) |
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From Priapus and the Pool |
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375 | (1) |
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III ("When trout swim down Great Ormond Street") |
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375 | (1) |
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JOHN PEALE BISHOP (1892-1944) |
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376 | (2) |
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Perspectives Are Precipices |
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377 | (1) |
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My Grandfather Kept Peacocks |
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378 | (1) |
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ARCHIBALD MacLEISH (1892-1982) |
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378 | (6) |
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381 | (1) |
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382 | (1) |
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382 | (1) |
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383 | (1) |
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EDNA ST. VINCENT MILLAY (1892-1950) |
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384 | (5) |
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Time Does Not Bring Relief: You All Have Lied |
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386 | (1) |
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386 | (1) |
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386 | (1) |
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I Shall Forget You Presently, My Dear |
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386 | (1) |
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387 | (1) |
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387 | (1) |
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What Lips My Lips Have Kissed |
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388 | (1) |
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388 | (1) |
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Hearing Your Words, and Not a Word among Them |
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388 | (1) |
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DOROTHY PARKER (1893-1967) |
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389 | (3) |
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390 | (1) |
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391 | (1) |
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391 | (1) |
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391 | (1) |
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391 | (1) |
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392 | (7) |
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394 | (1) |
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394 | (1) |
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394 | (1) |
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395 | (1) |
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395 | (1) |
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396 | (1) |
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396 | (1) |
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Henceforth, from the Mind |
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396 | (1) |
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397 | (1) |
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398 | (1) |
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399 | (1) |
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STEPHEN VINCENT BENET (1898-1943) |
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399 | (2) |
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400 | (1) |
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401 | (1) |
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MELVIN B. TOLSON (1898-1966) |
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401 | (8) |
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From A Gallery of Harlem Portraits |
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404 | (1) |
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404 | (1) |
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404 | (1) |
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405 | (4) |
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409 | (16) |
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413 | (1) |
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413 | (1) |
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414 | (1) |
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415 | (1) |
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415 | (1) |
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My Grandmother's Love Letters |
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416 | (1) |
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417 | (4) |
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421 | (1) |
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422 | (2) |
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422 | (2) |
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424 | (1) |
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424 | (1) |
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425 | (5) |
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Ode to the Confederate Dead |
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427 | (2) |
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429 | (1) |
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ROBERT FRANCIS (1901-1987) |
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430 | (2) |
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430 | (1) |
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431 | (1) |
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432 | (1) |
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RICHARD EBERHART (b. 1904) |
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432 | (1) |
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The Fury of Aerial Bombardment |
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433 | (1) |
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ROBERT PENN WARREN (1905-1989) |
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433 | (7) |
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435 | (1) |
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436 | (1) |
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436 | (4) |
Mid-Century Poets |
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|
Historical and Critical Overview |
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|
440 | (132) |
|
THEODORE ROETHKE (1908-1963) |
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|
448 | (12) |
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450 | (1) |
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450 | (1) |
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450 | (1) |
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451 | (1) |
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451 | (1) |
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451 | (1) |
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452 | (1) |
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453 | (1) |
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453 | (1) |
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From "North American Sequence" |
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454 | (6) |
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454 | (2) |
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456 | (1) |
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457 | (3) |
|
ELIZABETH BISHOP (1911-1979) |
|
|
460 | (17) |
|
|
462 | (1) |
|
|
463 | (1) |
|
|
464 | (2) |
|
|
466 | (1) |
|
|
467 | (2) |
|
|
469 | (2) |
|
|
471 | (2) |
|
|
473 | (4) |
|
|
477 | (1) |
|
J.V. CUNNINGHAM (1911-1985) |
|
|
477 | (9) |
|
|
478 | (1) |
|
|
479 | (1) |
|
|
479 | (1) |
|
To What Strangers, What Welcome |
|
|
480 | (4) |
|
|
484 | (1) |
|
|
485 | (1) |
|
JOSEPHINE MILES (1911-1985) |
|
|
486 | (2) |
|
|
487 | (1) |
|
|
487 | (1) |
|
|
488 | (1) |
|
|
488 | (1) |
|
ROBERT HAYDEN (1913-1980) |
|
|
488 | (12) |
|
The Ballad of Sue Ellen Westerfield |
|
|
490 | (2) |
|
|
492 | (1) |
|
|
492 | (5) |
|
Night, Death, Mississippi |
|
|
497 | (1) |
|
|
498 | (1) |
|
|
499 | (1) |
|
|
499 | (1) |
|
JOHN FREDERICK NIMS (1913-1999) |
|
|
500 | (2) |
|
|
501 | (1) |
|
|
501 | (1) |
|
MURIEL RUKEYSER (1913-1980) |
|
|
502 | (4) |
|
Effort at Speech between Two People |
|
|
504 | (1) |
|
To Be a Jew in the Twentieth Century |
|
|
504 | (1) |
|
|
505 | (1) |
|
|
505 | (1) |
|
|
506 | (1) |
|
JOHN BERRYMAN (1914-1972) |
|
|
506 | (5) |
|
|
508 | (1) |
|
|
509 | (2) |
|
1 ("Huffy Henry hid the day") |
|
|
509 | (1) |
|
14 ("Life, friends, is boring. We must not say so.") |
|
|
510 | (1) |
|
29 ("There sat down, once, a thing on Henry's heart") |
|
|
510 | (1) |
|
384 ("The marker slants, flowerless, day's almost done") |
|
|
510 | (1) |
|
RANDALL JARRELL (1914-1965) |
|
|
511 | (6) |
|
|
512 | (1) |
|
The Death of the Ball Turret Gunner |
|
|
513 | (1) |
|
|
513 | (1) |
|
The Woman at the Washington Zoo |
|
|
514 | (1) |
|
|
515 | (2) |
|
|
517 | (7) |
|
|
520 | (1) |
|
|
520 | (1) |
|
|
520 | (1) |
|
|
521 | (1) |
|
|
522 | (1) |
|
|
522 | (1) |
|
|
523 | (1) |
|
DUDLEY RANDALL (1914-2000) |
|
|
524 | (3) |
|
|
525 | (1) |
|
|
526 | (1) |
|
|
527 | (1) |
|
WILLIAM STAFFORD (1914-1993) |
|
|
527 | (4) |
|
The Farm on the Great Plains |
|
|
528 | (1) |
|
Traveling through the Dark |
|
|
529 | (1) |
|
|
530 | (1) |
|
At the Un-National Monument along the Canadian Border |
|
|
530 | (1) |
|
|
530 | (1) |
|
THOMAS MERTON (1915-1968) |
|
|
531 | (2) |
|
For My Brother: Reported Missing in Action, 1943 |
|
|
532 | (1) |
|
|
533 | (1) |
|
MARGARET WALKER (1915-1998) |
|
|
533 | (2) |
|
|
534 | (1) |
|
|
535 | (3) |
|
Most Like an Arch This Marriage |
|
|
536 | (1) |
|
|
537 | (1) |
|
THOMAS McGRATH (1916-1990) |
|
|
538 | (4) |
|
|
539 | (1) |
|
Ars Poetica: or: Who Lives in the Ivory Tower? |
|
|
540 | (1) |
|
|
540 | (1) |
|
Remembering the Children of Auschwitz |
|
|
541 | (1) |
|
GWENDOLYN BROOKS (1917-2000) |
|
|
542 | (7) |
|
|
544 | (1) |
|
|
544 | (1) |
|
|
545 | (1) |
|
From Notes from the Childhood and the Girlhood |
|
|
545 | (1) |
|
|
546 | (1) |
|
|
546 | (1) |
|
|
547 | (1) |
|
|
547 | (2) |
|
|
549 | (1) |
|
ROBERT LOWELL (1917-1977) |
|
|
549 | (15) |
|
|
552 | (1) |
|
The Quaker Graveyard in Nantucket |
|
|
553 | (4) |
|
Memories of West Street and Lepke |
|
|
557 | (1) |
|
|
558 | (1) |
|
|
559 | (2) |
|
Waking Early Sunday Morning |
|
|
561 | (2) |
|
|
563 | (1) |
|
|
564 | (1) |
|
WILLIAM JAY SMITH (b. 1918) |
|
|
564 | (3) |
|
A Note on the Vanity Dresser |
|
|
565 | (1) |
|
|
566 | (1) |
|
|
566 | (1) |
|
|
567 | (5) |
|
|
568 | (1) |
|
|
569 | (1) |
|
|
569 | (3) |
Open Form: Objectivists, Black Mountain Poets, San Francisco Renaissance, and Beats |
|
|
Historical and Critical Overview |
|
|
572 | (92) |
|
|
579 | (3) |
|
|
581 | (1) |
|
|
581 | (1) |
|
|
581 | (1) |
|
KENNETH FEARING (1902-1961) |
|
|
582 | (3) |
|
|
583 | (1) |
|
|
584 | (1) |
|
LORINE NIEDECKER (1903-1970) |
|
|
585 | (5) |
|
|
587 | (1) |
|
Sorrow Moves in Wide Waves |
|
|
588 | (1) |
|
|
588 | (1) |
|
|
588 | (1) |
|
|
589 | (1) |
|
|
589 | (1) |
|
|
589 | (1) |
|
"Last night the trash barrel" |
|
|
589 | (1) |
|
"The boy tossed the news" |
|
|
589 | (1) |
|
|
589 | (1) |
|
|
589 | (1) |
|
|
589 | (1) |
|
|
590 | (1) |
|
He Lived-Childhood Summers |
|
|
590 | (1) |
|
LOUIS ZUKOFSKY (1904-1978) |
|
|
590 | (4) |
|
|
592 | (1) |
|
A Song for the Year's End |
|
|
593 | (1) |
|
|
594 | (1) |
|
KENNETH REXROTH (1905-1982) |
|
|
594 | (6) |
|
A Very Early Morning Exercise |
|
|
596 | (1) |
|
|
597 | (1) |
|
|
598 | (1) |
|
The Signature of All Things |
|
|
598 | (2) |
|
|
600 | (6) |
|
|
602 | (1) |
|
The knowledge not of sorrow, you were |
|
|
602 | (1) |
|
|
603 | (1) |
|
The Bicycles and the Apex |
|
|
603 | (1) |
|
|
604 | (1) |
|
The Building of the Skyscraper |
|
|
605 | (1) |
|
|
605 | (1) |
|
Strange That the Youngest People I Know |
|
|
605 | (1) |
|
CHARLES OLSON (1910-1970) |
|
|
606 | (3) |
|
|
607 | (2) |
|
|
609 | (1) |
|
WILLIAM EVERSON [BROTHER ANTONINUS] (1912-1994) |
|
|
609 | (4) |
|
|
611 | (1) |
|
|
612 | (1) |
|
|
613 | (1) |
|
ROBERT DUNCAN (1919-1988) |
|
|
613 | (7) |
|
The Temple of the Animals |
|
|
615 | (1) |
|
|
616 | (1) |
|
This Place Rumored to Have Been Sodom |
|
|
617 | (1) |
|
|
618 | (1) |
|
|
618 | (2) |
|
LAWRENCE FERLINGHETTI (b. 1919) |
|
|
620 | (2) |
|
In Goya's Greatest Scenes We Seem to See |
|
|
621 | (1) |
|
DENISE LEVERTOV (1923-1997) |
|
|
622 | (6) |
|
"... Else a great Prince in prison lies" |
|
|
625 | (1) |
|
|
625 | (1) |
|
|
625 | (1) |
|
|
626 | (1) |
|
|
627 | (1) |
|
|
627 | (1) |
|
|
628 | (3) |
|
|
629 | (1) |
|
The Shrine Whose Shape I Am |
|
|
630 | (1) |
|
|
630 | (1) |
|
|
631 | (1) |
|
|
631 | (1) |
|
|
631 | (3) |
|
|
633 | (1) |
|
|
634 | (1) |
|
|
634 | (5) |
|
|
636 | (1) |
|
|
636 | (1) |
|
|
637 | (1) |
|
|
638 | (1) |
|
|
638 | (1) |
|
|
639 | (6) |
|
|
641 | (1) |
|
|
641 | (1) |
|
|
642 | (1) |
|
|
642 | (2) |
|
|
644 | (1) |
|
"I Keep to Myself Such Measures ..." |
|
|
644 | (1) |
|
ALLEN GINSBERG (1926-1997) |
|
|
645 | (12) |
|
|
647 | (2) |
|
|
649 | (7) |
|
A Supermarket in California |
|
|
656 | (1) |
|
|
657 | (7) |
|
|
659 | (1) |
|
Mid-August at Sourdough Mountain Lookout |
|
|
659 | (1) |
|
|
660 | (1) |
|
Why Log Truck Drivers Rise Earlier Than Students of Zen |
|
|
660 | (1) |
|
|
660 | (4) |
Postwar Formalism and Its Discontents: From Formalism to Feminism and the Confessional Mode |
|
|
Historical and Critical Overview |
|
|
664 | (112) |
|
HOWARD NEMEROV (1920-1991) |
|
|
671 | (5) |
|
A Primer of the Daily Round |
|
|
672 | (1) |
|
|
673 | (1) |
|
|
674 | (1) |
|
Because You Asked about the Line between Prose and Poetry |
|
|
675 | (1) |
|
|
675 | (1) |
|
|
675 | (1) |
|
|
676 | (2) |
|
Earth Tremors Felt in Missouri |
|
|
677 | (1) |
|
|
678 | (1) |
|
|
678 | (9) |
|
|
680 | (1) |
|
|
681 | (1) |
|
Love Calls Us to the Things of This World |
|
|
682 | (1) |
|
|
682 | (1) |
|
|
683 | (2) |
|
|
685 | (1) |
|
|
685 | (1) |
|
|
686 | (1) |
|
|
686 | (1) |
|
|
687 | (3) |
|
|
688 | (1) |
|
|
689 | (1) |
|
|
690 | (6) |
|
|
691 | (2) |
|
|
693 | (1) |
|
|
694 | (1) |
|
|
695 | (1) |
|
|
696 | (9) |
|
|
699 | (1) |
|
The Dover Bitch-A Criticism of Life? |
|
|
700 | (1) |
|
|
701 | (1) |
|
|
702 | (1) |
|
|
703 | (1) |
|
Sarabande on Attaining the Age of Seventy-seven |
|
|
704 | (1) |
|
|
705 | (3) |
|
Degrees of Gray in Philipsburg |
|
|
706 | (1) |
|
|
707 | (1) |
|
|
708 | (7) |
|
|
709 | (1) |
|
The Man Who Married Magdalene |
|
|
710 | (1) |
|
|
711 | (1) |
|
|
711 | (1) |
|
My Father in the Night Commanding No |
|
|
711 | (1) |
|
|
712 | (1) |
|
|
713 | (2) |
|
|
715 | (6) |
|
|
717 | (1) |
|
|
718 | (1) |
|
On the Death of Friends in Childhood |
|
|
718 | (1) |
|
But That Is Another Story |
|
|
718 | (1) |
|
|
719 | (1) |
|
Variations on a Text by Vallejo |
|
|
720 | (1) |
|
|
720 | (1) |
|
|
721 | (6) |
|
|
723 | (3) |
|
I. ("From Sappho to myself, consider the fate of women.") |
|
|
723 | (1) |
|
II. ("I take as my theme 'The Independent Woman.") |
|
|
724 | (1) |
|
III. ("I will speak about women of letters, for I'm in the racket.") |
|
|
725 | (1) |
|
|
726 | (1) |
|
|
727 | (4) |
|
|
728 | (1) |
|
|
728 | (1) |
|
|
729 | (1) |
|
Noted in the New York Times |
|
|
730 | (1) |
|
|
731 | (4) |
|
|
732 | (1) |
|
|
733 | (1) |
|
|
734 | (1) |
|
JAMES MERRILL (1926-1995) |
|
|
735 | (6) |
|
|
737 | (3) |
|
|
740 | (1) |
|
|
740 | (1) |
|
|
741 | (1) |
|
|
741 | (3) |
|
|
742 | (1) |
|
|
743 | (1) |
|
|
744 | (1) |
|
|
744 | (4) |
|
|
746 | (1) |
|
|
746 | (1) |
|
|
747 | (1) |
|
|
748 | (1) |
|
|
748 | (4) |
|
In a Prominent Bar in Secaucus One Day |
|
|
750 | (1) |
|
|
751 | (1) |
|
|
751 | (1) |
|
|
751 | (1) |
|
|
752 | (9) |
|
|
754 | (1) |
|
|
754 | (1) |
|
|
755 | (1) |
|
|
755 | (3) |
|
|
758 | (1) |
|
|
758 | (1) |
|
|
759 | (1) |
|
|
759 | (1) |
|
|
760 | (1) |
|
|
761 | (10) |
|
|
764 | (1) |
|
|
764 | (1) |
|
|
765 | (1) |
|
|
765 | (1) |
|
|
766 | (2) |
|
|
768 | (1) |
|
|
768 | (2) |
|
|
770 | (1) |
|
|
771 | (5) |
|
|
772 | (1) |
|
|
773 | (1) |
|
|
773 | (1) |
|
|
773 | (1) |
|
|
774 | (2) |
American Internationalism: Surrealism, Deep Image Poetry, and the New York School |
|
|
Historical and Critical Overview |
|
|
776 | (66) |
|
|
784 | (2) |
|
|
785 | (1) |
|
|
785 | (1) |
|
|
786 | (4) |
|
|
787 | (1) |
|
|
788 | (2) |
|
|
790 | (4) |
|
|
791 | (1) |
|
|
792 | (1) |
|
|
792 | (1) |
|
|
793 | (1) |
|
|
794 | (4) |
|
|
796 | (1) |
|
|
796 | (1) |
|
Counting Small-Boned Bodies |
|
|
797 | (1) |
|
Johnson's Cabinet Watched by Ants |
|
|
797 | (1) |
|
Romans Angry about the Inner World |
|
|
797 | (1) |
|
|
798 | (6) |
|
|
800 | (1) |
|
Poem ("The eager note on my door said 'Call me,) |
|
|
800 | (1) |
|
|
800 | (1) |
|
|
801 | (1) |
|
|
802 | (1) |
|
|
802 | (1) |
|
|
803 | (1) |
|
|
804 | (5) |
|
|
806 | (1) |
|
|
807 | (1) |
|
|
807 | (1) |
|
|
808 | (1) |
|
|
808 | (1) |
|
|
809 | (1) |
|
|
809 | (6) |
|
|
811 | (1) |
|
|
811 | (1) |
|
|
812 | (1) |
|
For the Anniversary of My Death |
|
|
812 | (1) |
|
|
813 | (1) |
|
|
814 | (1) |
|
|
815 | (1) |
|
|
815 | (6) |
|
|
817 | (1) |
|
|
818 | (1) |
|
Autumn Begins in Martins Ferry, Ohio |
|
|
818 | (1) |
|
|
819 | (1) |
|
Lying in a Hammock at William Duffy's Farm in Pine Island, Minnesota |
|
|
819 | (1) |
|
|
820 | (1) |
|
|
820 | (1) |
|
|
821 | (5) |
|
|
822 | (1) |
|
Animals Are Passing from Our Lives |
|
|
822 | (1) |
|
To a Child Trapped in a Barber Shop |
|
|
823 | (1) |
|
|
824 | (1) |
|
|
825 | (1) |
|
|
826 | (2) |
|
|
827 | (1) |
|
|
827 | (1) |
|
|
828 | (5) |
|
|
830 | (1) |
|
|
830 | (1) |
|
|
830 | (1) |
|
|
831 | (2) |
|
|
833 | (3) |
|
|
834 | (1) |
|
|
834 | (1) |
|
|
835 | (1) |
|
|
835 | (1) |
|
|
836 | (1) |
|
|
836 | (6) |
|
|
837 | (2) |
|
Teaching the Ape to Write Poems |
|
|
839 | (1) |
|
|
839 | (3) |
Return to Realism: Regionalism and Cultural Identity |
|
|
Historical and Critical Overview |
|
|
842 | (54) |
|
MILLER WILLIAMS (b. 1930) |
|
|
847 | (3) |
|
On a Photograph of My Mother at Seventeen |
|
|
848 | (1) |
|
|
848 | (2) |
|
ETHERIDGE KNIGHT (1931-1991) |
|
|
850 | (5) |
|
|
851 | (1) |
|
Hard Rock Returns to Prison from the Hospital for the Criminal Insane |
|
|
852 | (1) |
|
|
853 | (1) |
|
The Warden Said to Me the Other Day |
|
|
854 | (1) |
|
|
854 | (1) |
|
RHINA ESPAILLAT (b. 1932) |
|
|
855 | (2) |
|
|
855 | (1) |
|
|
856 | (1) |
|
|
857 | (1) |
|
|
857 | (2) |
|
|
858 | (1) |
|
|
858 | (1) |
|
|
859 | (1) |
|
AMIRI BARAKA/LeROI JONES (b. 1934) |
|
|
859 | (4) |
|
Preface to a Twenty Volume Suicide Note |
|
|
861 | (1) |
|
|
862 | (1) |
|
|
862 | (1) |
|
|
863 | (4) |
|
Father Son and Holy Ghost |
|
|
864 | (1) |
|
|
865 | (1) |
|
|
866 | (1) |
|
N. SCOTT MOMADAY (b. 1934) |
|
|
867 | (3) |
|
|
868 | (1) |
|
Carriers of the Dream Wheel |
|
|
868 | (1) |
|
The Delight Song of Tsoai-talee |
|
|
869 | (1) |
|
|
870 | (1) |
|
|
870 | (1) |
|
|
870 | (2) |
|
|
871 | (1) |
|
|
872 | (1) |
|
|
872 | (1) |
|
|
872 | (1) |
|
LUCILLE CLIFTON (b. 1936) |
|
|
872 | (3) |
|
|
873 | (1) |
|
|
874 | (1) |
|
|
874 | (1) |
|
|
875 | (4) |
|
|
876 | (1) |
|
|
877 | (1) |
|
|
878 | (1) |
|
|
879 | (1) |
|
|
879 | (1) |
|
|
880 | (4) |
|
I am a cowboy in the boat of Ra |
|
|
881 | (2) |
|
|
883 | (1) |
|
|
884 | (2) |
|
Work, for the Night Is Coming |
|
|
885 | (1) |
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|
885 | (1) |
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|
886 | (4) |
|
|
887 | (2) |
|
|
889 | (1) |
|
|
890 | (6) |
|
|
891 | (1) |
|
The Blind Always Come as Such a Surprise |
|
|
892 | (1) |
|
|
892 | (1) |
|
|
893 | (1) |
|
|
893 | (3) |
Contemporary Voices |
|
|
Historical and Critical Overview |
|
|
896 | (148) |
|
|
906 | (2) |
|
|
906 | (2) |
|
|
908 | (1) |
|
|
908 | (3) |
|
|
909 | (1) |
|
|
910 | (1) |
|
|
910 | (1) |
|
|
911 | (3) |
|
Black Mountain, Los Altos |
|
|
912 | (1) |
|
|
912 | (1) |
|
|
913 | (1) |
|
|
914 | (3) |
|
|
915 | (1) |
|
It was only a coincidence |
|
|
915 | (1) |
|
Nostalgia is the elixir drained |
|
|
916 | (1) |
|
|
917 | (4) |
|
|
918 | (1) |
|
|
919 | (1) |
|
Metaphor of Grass in California |
|
|
920 | (1) |
|
|
921 | (4) |
|
|
922 | (1) |
|
The One Girl at the Boys' Party |
|
|
923 | (1) |
|
|
924 | (1) |
|
|
924 | (1) |
|
|
925 | (3) |
|
|
926 | (1) |
|
|
926 | (1) |
|
|
927 | (1) |
|
|
927 | (1) |
|
|
928 | (1) |
|
|
928 | (3) |
|
|
929 | (1) |
|
All those words we once used ... |
|
|
930 | (1) |
|
|
931 | (1) |
|
|
931 | (2) |
|
|
932 | (1) |
|
|
933 | (1) |
|
SHIRLEY GEOK-LIN LIM (b. 1944) |
|
|
933 | (2) |
|
|
934 | (1) |
|
|
934 | (1) |
|
|
935 | (1) |
|
|
935 | (3) |
|
The Death of a Small Town |
|
|
936 | (1) |
|
|
937 | (1) |
|
|
938 | (3) |
|
|
939 | (1) |
|
|
939 | (1) |
|
|
939 | (1) |
|
|
940 | (1) |
|
|
940 | (1) |
|
|
941 | (1) |
|
ADRIAN C. LOUIS (b. 1946) |
|
|
941 | (2) |
|
|
942 | (1) |
|
|
943 | (1) |
|
|
943 | (5) |
|
The Ballad of Aunt Geneva |
|
|
944 | (1) |
|
|
945 | (1) |
|
|
945 | (3) |
|
|
948 | (3) |
|
From The Chinese Notebook |
|
|
949 | (2) |
|
|
951 | (1) |
|
|
951 | (1) |
|
YUSEF KOMUNYAKAA (b. 1947) |
|
|
952 | (5) |
|
|
953 | (1) |
|
|
954 | (1) |
|
|
955 | (1) |
|
|
956 | (1) |
|
|
957 | (2) |
|
|
957 | (1) |
|
The Ten Million Flames of Los Angeles |
|
|
958 | (1) |
|
|
959 | (2) |
|
|
960 | (1) |
|
|
961 | (1) |
|
|
961 | (4) |
|
|
963 | (1) |
|
|
963 | (1) |
|
|
964 | (1) |
|
|
965 | (3) |
|
|
967 | (1) |
|
|
968 | (1) |
|
|
968 | (3) |
|
|
969 | (1) |
|
|
970 | (1) |
|
|
971 | (1) |
|
|
971 | (2) |
|
Vanishing Point: Urban Indian |
|
|
972 | (1) |
|
For the White Poets Who Would Be Indian |
|
|
972 | (1) |
|
|
973 | (2) |
|
|
974 | (1) |
|
|
975 | (1) |
|
|
975 | (3) |
|
|
977 | (1) |
|
|
978 | (1) |
|
|
978 | (2) |
|
After a Line by F. Scott Fitzgerald |
|
|
979 | (1) |
|
|
980 | (1) |
|
|
980 | (4) |
|
|
982 | (1) |
|
|
983 | (1) |
|
|
983 | (1) |
|
|
984 | (3) |
|
|
985 | (2) |
|
Sang for the Deer and Myself to Return On |
|
|
987 | (1) |
|
|
987 | (3) |
|
|
988 | (1) |
|
|
989 | (1) |
|
Elegy for My Father, Who Is Not Dead |
|
|
989 | (1) |
|
JUDITH ORTIZ COFEK (b. 1952) |
|
|
990 | (2) |
|
|
991 | (1) |
|
The Lesson of the Sugarcane |
|
|
991 | (1) |
|
|
992 | (3) |
|
|
993 | (1) |
|
|
993 | (1) |
|
|
993 | (1) |
|
|
994 | (1) |
|
|
995 | (1) |
|
|
995 | (1) |
|
|
996 | (1) |
|
|
996 | (3) |
|
|
997 | (2) |
|
|
999 | (1) |
|
|
999 | (1) |
|
NAOMI SHIHAB NYE (b. 1952) |
|
|
999 | (2) |
|
|
1000 | (1) |
|
|
1001 | (1) |
|
|
1001 | (6) |
|
|
1002 | (2) |
|
|
1004 | (3) |
|
GJERTRUD SCHNACKENBERG (b. 1953) |
|
|
1007 | (3) |
|
|
1008 | (1) |
|
|
1009 | (1) |
|
|
1010 | (2) |
|
|
1011 | (1) |
|
|
1011 | (1) |
|
FRANCISCO X. ALARCÓN (b. 1954) |
|
|
1012 | (1) |
|
|
1012 | (1) |
|
|
1013 | (1) |
|
|
1013 | (5) |
|
|
1014 | (4) |
|
|
1018 | (1) |
|
BENJAMIN ALTRE SÁENZ (b. 1954) |
|
|
1018 | (3) |
|
|
1019 | (1) |
|
|
1020 | (1) |
|
|
1021 | (3) |
|
|
1022 | (1) |
|
|
1023 | (1) |
|
|
1024 | (3) |
|
|
1025 | (1) |
|
|
1026 | (1) |
|
JACQUELINE OSHEROW (b. 1956) |
|
|
1027 | (2) |
|
Song for the Music in the Warsaw Ghetto |
|
|
1028 | (1) |
|
|
1028 | (1) |
|
|
1029 | (2) |
|
No Less Than Twenty-Six Distinct Necronyms |
|
|
1030 | (1) |
|
|
1030 | (1) |
|
|
1031 | (2) |
|
My Childhood in Another Part of the World |
|
|
1032 | (1) |
|
|
1033 | (1) |
|
|
1033 | (2) |
|
Indian Boy Love Song (#2) |
|
|
1034 | (1) |
|
From "The Native American Broadcasting System" |
|
|
1034 | (1) |
|
("I am the essence of powwow, I am") |
|
|
1034 | (1) |
|
The Powwow at the End of the World |
|
|
1035 | (1) |
|
MARISA DE LOS SANTOS (b. 1966) |
|
|
1035 | (2) |
|
|
1036 | (1) |
|
CHRISTIAN WIMAN (b. 1966) |
|
|
1037 | (1) |
|
|
1037 | (1) |
|
LARISSA SZPORLUK (b. 1967) |
|
|
1038 | (1) |
|
|
1038 | (1) |
|
|
1039 | (2) |
|
Memento Mori in Middle School |
|
|
1040 | (1) |
|
|
1041 | (3) |
|
|
1042 | (2) |
Selected Bibliographies |
|
1044 | (128) |
Acknowledgments |
|
1172 | |
Index of Authors and Titles |
|
1134 | |