Preface | |
A Way of Writing | p. 1 |
Work and Inspiration: Inviting the Muse | p. 7 |
Poetic Process? | p. 21 |
Goatfoot, Milktongue, Twinbird: The Psychic Origins of Poetic Form | p. 22 |
Reflections on the Origins of Poetic Form | p. 32 |
Portrait of the Writer as a Fat Man: Some Subjective Ideas or Notions on the Care and Feeding of Prose Poems | p. 35 |
Poetry and Science: The Science of Poetry/The Poetry of Science | p. 44 |
Gorky Street: Syntax and Context | p. 58 |
The Two-Tone Line, Blues Ideology, and the Scrap Quilt | p. 65 |
The Working Line | p. 75 |
A Response to "The Working Line" | p. 81 |
Further Reflections on Line and the Poetic Voice | p. 84 |
The Line | p. 88 |
Some Thoughts about Lines | p. 91 |
A Note on Prose, Verse and the Line | p. 92 |
Some Thoughts about the Line | p. 93 |
Images and "Images" | p. 95 |
Notes on the Image: Body and Soul | p. 98 |
Recognizing the Image as a Form of Intelligence | p. 101 |
Image and Language | p. 110 |
Noun/Object/Image | p. 111 |
Some Remarks on "Literature and Reality" | p. 115 |
Meanings of Poetry | p. 117 |
Poetry, Community and Climax | p. 120 |
Some Notes on the Gazer Within | p. 133 |
The Bite of the Muskrat: Judging Contemporary Poetry | p. 152 |
Not Your Flat Tire, My Flat Tire: Transcending the Self in Contemporary Poetry | p. 161 |
Stone Soup: Contemporary Poetry and the Obsessive Image | p. 171 |
Language: The Poet as Master and Servant | p. 179 |
Second Honeymoon: Some Thoughts on Translation | p. 198 |
Here and There: The Use of Place in Contemporary Poetry | p. 206 |
Eden and My Generation | p. 223 |
A Taxable Matter | p. 240 |
Urgent Masks: An Introduction to John Ashbery's Poetry | p. 243 |
Poetry, Personality and Death | p. 255 |
Poetry, Personality and Wholeness: A Response to Galway Kinnell | p. 272 |
Charles Wright at Oberlin | p. 279 |
Secrets: Beginning to Write Them Out | p. 306 |
Lessons in Form | p. 320 |
Body and Soul: Three Poets on Their Maladies | p. 327 |
My Insomnia and I | p. 327 |
Backache, Poemache, and Botz | p. 329 |
The Closest Work | p. 331 |
Notes on Contributors | p. 337 |
Acknowledgments | p. 340 |
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