| A Note on the Text | p. 10 |
| Introduction: Writing into the Dark | p. 11 |
| from A Retrospect | p. 17 |
| from A General Introduction for my Work | p. 26 |
| Tradition and the Individual Talent | p. 31 |
| from Observations on Poetry 1922-1925 | p. 39 |
| The Figure a Poem Makes | p. 44 |
| General Aims and Theories | p. 47 |
| Foreword from is 5 | p. 52 |
| Explaining 'A Rose is a Rose is a Rose is a Rose' | p. 54 |
| from Adagia | p. 56 |
| from The Virgin and the Dynamo | p. 67 |
| A Statement | p. 72 |
| from A Theory of Scots Letters | p. 74 |
| The Poet's Point of View | p. 80 |
| On Measure - Statement For Cid Corman | p. 83 |
| A Statement For Poetry | p. 87 |
| from Projective Verse | p. 92 |
| To Define | p. 100 |
| 'I believe poets are instruments' | p. 102 |
| 'I tend to write in a patterned arrangement' | p. 103 |
| Letter to Miss Pierson | p. 104 |
| On 'Skunk Hour' | p. 106 |
| Answers to Questions | p. 110 |
| 'Poetry is like a man' | p. 113 |
| from Notes on the Art of Poetry | p. 115 |
| Notes on a Poetry of Release | p. 117 |
| from Self Portrait | p. 122 |
| How to be a Bad Writer | p. 127 |
| from 'When the Mode of the Music Changes the Walls of the City Shake' | p. 129 |
| Personism: A Manifesto | p. 132 |
| 'How You Sound?' | p. 135 |
| Poetry is Not a Luxury | p. 137 |
| Poetry and Experience: Statement at a Poetry Reading | p. 141 |
| Writing a Poem | p. 143 |
| A Comparison | p. 145 |
| My Muse | p. 148 |
| Statement | p. 150 |
| Words and Experience | p. 152 |
| Craft and Technique | p. 158 |
| 'Poetry is all I write' | p. 161 |
| A Difficult Simple Art | p. 163 |
| In Conversation | p. 167 |
| Go Figure | p. 172 |
| Tracking The Wind Dog | p. 173 |
| Babylonish Dialects | p. 177 |
| A Few Words for the New Century | p. 181 |
| Contexts: An Essay on Intentions | p. 184 |
| A Question of Voice | p. 188 |
| Roof of Fireflies | p. 190 |
| From the Introduction to Radical Renfrew | p. 195 |
| Not Quite a Statement | p. 198 |
| The Instrument | p. 201 |
| Almost a Dialogue with Lyn Hejinian: Quotations and Phantom Limbs ... | p. 203 |
| War, Poetry, the Child | p. 208 |
| 'The Poetry I feel closest to' | p. 211 |
| Voices | p. 213 |
| The Wrong Way | p. 215 |
| And Cry Jesus to the Mice | p. 219 |
| Poetry's Concern | p. 222 |
| Common and Peculiar | p. 226 |
| Leaping Versus Blabbing | p. 229 |
| Yes and No | p. 233 |
| The Other | p. 234 |
| Proceedings in Palmersville | p. 236 |
| 'I happen to believe' | p. 241 |
| My Report Card | p. 243 |
| Racoons - or, Can Art Be Evil? | p. 245 |
| Poetry Makes Nothing Happen | p. 248 |
| Re-Writing the Good Book | p. 252 |
| Strictures | p. 256 |
| Strong Words | p. 259 |
| Cosmopolibackofbeyondism | p. 262 |
| Whose Coat is that Jacket? Whose Hat is that Cap? | p. 265 |
| Further Adventures in the Skin Trade | p. 270 |
| Interior with Extension Cord | p. 274 |
| Holding Fast - Truth and Change in Poetry | p. 277 |
| Aphorisms | p. 282 |
| A Manifesto | p. 287 |
| Acknowledgements and Further Reading | p. 289 |
| Index | p. 303 |
| Table of Contents provided by Blackwell. All Rights Reserved. |