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Many courses in poetry
address the complexities of meaning and composition by analyzing poems according
to such elements as image, metaphor, meter, line, rhyme, narrative,and
speaker. Though not exhaustive, the following lists may help you
find relevent poems in this vast, and vastly useful, anthology. For further
amplification on poems, poets, and social contexts, see the MAPs website.
Over time, I will also add links to other poems I use frequently in the classroom.
Image ~ Metaphor
~ Poems about Family ~ Narrative ~
Occasion ~
Poem as Speech/Speech as Form ~
Uses of Line
~ Meter & Line Length ~
Syllabics ~
Accentual ~ Rhyme & Sound ~ Couplets
~ Quatrains
~ Sonnets ~ Other Stanzaic
Forms
Avant-Garde Forms ~ Elegy ~ Ars Poetica ~ Pastoral ~ Satire
~
Image
Dickinson: #465 I heard a Fly buzz when
I died 11
Frost: After Apple-Picking 88, Birches 90
Sandburg: Muckers 108, Planked Whitefish 110
Stevens: 13 Ways of Looking at a Blackbird 128
Grimke: The Black Finger 145
Williams: Widow's Lament in Springtime 166, The Great Figure 167, Spring
and All 167, The Red Wheelbarrow 170, Young Sycamore 170, Proletarian Portrait
192
Pound: In a Station of the Metro 204
HD: Oread 233, Sea Rose 234, Garden 234
Jeffers: The Purse-Seine 246, Vulture 248
Moore: The Fish 252, Peter 255, The Pangolin 269
cummings: in Just- 344
Toomer: Reapers 352
Bogan: The Dragonfly 380
Niedecker: Paean to Place 536
Rakosi: The Menage 547
Zukofsky: To My Wash-stand 551
Roethke: Cuttings 585, Cuttings (later) 586, Frau Bauman Frau Schmidt
and Frau Schwartze 586, Meditation at Oyster River (1) 591
Rolfe: First Love 610
Olson: Variations Done for Gerald Van De Wiele 620,
Bishop: The Fish 631
Japanese American Concentration Camp Haiku 717
Stafford: Indian Cave Jerry Ramsey Found 730
Bly: Looking at New-Fallen Snow from a Train 881
J.Wright: Lying in a Hammock 891, A Blessing 891
Merwin: Sun and Rain 919
Snyder: Beneath My Hand an Eye 956
Knight: Haiku 968
Oliver: The Lilies Break Open Over Dark Water 1023, Black Snake This Time
1025
Inada: Listening Images 1054
Komunyakaa: Nazi Doll 1146
Metaphor
Metaphoric Portrait
Williams: Queen-Anne's Lace 166
Toomer: Portrait in Georgia 353, Her Lips Are
Copper Wire 353
Duncan: My Mother Would Be a Falconres 786
Rich: VI from Twenty-one Love Poems 947
Plath: The Colossus 975
Cortez: Do You Think 1027
Inada: Listening Images 1057
Foster: Look and look again 1206, I'm always grateful 1207
Metaphors for Relationships:
Endrezze: Birdwatching at Fan Lake 1179
Louis: Wanbli Gleska Win 1130
Gluck: Quiet Evening 1084
Hass: A Story about the Body 1076
Shooting Script 935 & Trying to Talk to a Man 942
A. Lowell: The Letter 45
Levertov: The Ache of Marriage 807
Rich: IX from Twenty-one Love Poms 948, XI 949, and others from that sequence
Rich: Diving into the Wreck 943, Trying to Talk with a Man 942
Other Metaphoric Poems:
A. Lowell: Opal 47, The Weather-Cock Points
South 47,
Stevens: 13 Ways of Looking at a Blackbird 127
Cisneros: Little Clown My Heart 1192
C.D. Wright: Over Everything & Song of the Ground 1159
Inada: Listening Images1054
Clifton: poem to my uterus & to my last period 1032
Lorde: Coal 1009
Dumas: Kef 16 993
Plath: Ariel 987, Lady Lazarus 988
Snyder: Riprap 955
Rich: Diving into the Wreck 943
Levine: The Flower 876
R.Lowell: For the Union Dead 759
Stone: Drought in the Lower Fields 739
Jarrell: Death of the Ball Turret Gunner 713
Rukeyser: Poem White Page 690
Creeley: The Flower 876
J.Wright: Autumn Begins 891
Merwin: For the Anniversary of My Death 915
Sexton: The Room of My Life 924
Snyder: Riprap 955
Oliver: Lilies Break Open 1023
Clifton: poem to my uterus 1032, to my last period 1032
Komunyakaa: Fog Galleon 1147
Poems about family:
Baca: Mi Tio Baca 1175
Hongo: Ancestral Graves 1169
Olds: The Waiting 1080
Harper: 3 poems on the death of his son 1046-1048
Dumas: Knees of a Natural Man 994
Plath: The Colossus 975
Knight: Idea of Ancestry 969
Levine: On the Meeting of Garcia Lorca and Hart Crane 932
Sexton: Truth the Dead Know 922 & And One for My Dame 922
Merwin: Sun and Rain 919
Duncan: My Mother Would Be a Falconress 786
Stone: Pokeberries 738, I Have Three Daughters 737
Berryman: Dreamsong #384 728
Levertov: Olga Poems 808
Niedecker: Paean to Place 537
Merwin: Sun and Rain 919
Narrative & Narrative Lyric
These categories are not distinct: most
narrative poems rely on lyric affects, and most lyric situations require
some degree of narrative context, even if only the generic "a lover speaks
to the beloved." A narrative poem is generally defined in the most obvious
way: a poem that tells a story. Yet in some narrative poems the story
seems to be the whole point, while in others the story seems merely to
set a scene and define a particular speaker so that lyric epiphany or expression
can take place. As you read these poems consider the questions that follow.
Some of the poems we've read in earlier weeks may also be narrative, so
you may want to return to some of them, as well, with these questions in
mind.
- who speaks? is the audience a reader,
or do we overhear words spoken to another character?
- how distinct are characters other
than the speaker?
- how much happens? how much is merely
'situation' or 'occasion' without development?
- how large or small are the events
of the poem?
- are these events what the poem
is about? or do they serve to frame or tame another subject? (as do, for
example, the small acts of the narrator and companions in Sandburg's "Planked
White Fish", Pinksy's "The Unseen", or Erdrich's "Dear John Wayne")
- at what level of detail is the
story told? can we see it unfold, or are we just given an outline of events?
- does the poem stay with a story
in one time and place?
- how specific is the setting, time
and place?
- does the speaker offer commentary,
or just 'what happened'?
- at key moments of emotion, transition
or conclusion, are the poem's affects primarily lyrical or primarily narrative?
- how long is the poem?
- does the poem leave you wanting
to know more of what happened? more about the speaker?
- if you had to toss this poem in
a box labeled "narrative" or a box labeled "narrative lyric" where would
you toss it?
Frost: Home Burial 85, Witch of Coos 97:
read one of these
Sandburg: Planked Whitefish 110
Millay: Sonnets from an Ungrafted Tree 320:
a narrative sonnet series, optional
Reznikoff: from Testimony: Negroes 355, from
Holocaust: Massacres 364: documentary poems, optional
Rolfe: Season of Death 609
Bishop: In the Waiting Room 639
O'Hara: A Step Away from Them 828, The Day
Lady Died 829
Levine: Belle Isle, 1949 927, Fear and Fame
931
Pinsky: The Unseen 1059
Hass: A Story about the Body 1076
Olds: The Waiting 1080
Louis: Wakinyan 1127, How Verdell and Dr. Zhivago
Disassembled the Soviet Union 1129
Komunyakaa: Tu Do Street 1142, Prisoners 1143,
Work 1148
C.D. Wright: Obedience of the Corpse 1158
Young Bear: It Is the Fish-faced Boy Who Struggles
1165
Forche: The Colonel 1168
Erdrich: Dear John Wayne 1190
Espada: Federico's Ghost 1212, Saint Vincent
de Paul Food Pantry Stomp 1213, Fidel in Ohio 1213
Alexie: Tourists 1222
Occasion
Some poems cannot
be described as narrative, and yet specific placement of a speaker in time,
place, & situation is essential to its meaning. For the following poems,
make a few notes about what the poem tells us about the life
situation or experience the poet is writing about, then answer these questions:
How is the situation or life experience conveyed? Are we told directly?
Is it implied? How is it used to structure the poem? What is the place
or the scene in which the poem takes place? How is that place or that scene
described to us? What happens in the poem? How do we know what happens?
What has happened before the narrative time of the poem begins? How do we
know?
Pinsky:
The Shirt 1060
Grahn: A Vietnamese Woman Speaks to an American Soldier 1069
Olds: the photo poems or Things That Are Worse than Death 1080
Hecht: More Light! More Light! 816
Merwin: The Gardens of Zuni 917
Levine: The Horse 925
Rich: The Power 953
Corso: Bomb 963
Taggard: Up State--Depression Summer 336
Fearing: $2.50 495
Hughes: Come to the Waldorf-Astoria 510 AND 1230, Dinner Guest Me
Beecher: Report to the Stockholders 557
Hayden: Runagate Runagate 696, Letter from Phyllis Wheatley 699
Smith: Malcolm, first section 1062
Dove: Parsley 1172
Erdrich: Indian Boarding School 1189
Moss: Crystals 1196
Foster: Life Magazine December 1941 1208
Espada: Federico's Ghost 1212, Skull Beneath the Skin of the Mango 1214,
St. Vincent de Paul Food Pantry Stomp...
Poetry as Speech / Speech as Form
Some of these poems are dramatic monologues or other persona poems, in which
a created character "speaks." Others work to catch a particular way of speaking
characteristic of a region, race, class, or profession. Others do not represent
a speaking voice, per se, but use some of the conventions of represented speech
to address a reader or an auditor in a casual, speech-like manner. Still
others mingle such affects with other kinds of language and rhetoric.
Pay attention to how meter (or its absence), rhythm, line break, diction,
slang, inverted or unusual word order, incomplete or periodic sentences, and
illocutionary gestures combine to create the illusion and the intimacy of
speech. Notice, also, how the poets work their way in and out of speech-like
moments, and how they combine these with other kinds of rhetorical constructions.
Whitman: I Hear It Was Charged Against Me 3, A Glimpse 3
Frost: Mending Wall 84, Home Burial 85, After Apple-Picking 88, The Road
Not Taken 90, Birches 90, Fire and Ice 95, etc.
Sandburg: Planked Whitefish 110
Williams: Portrait of a Lady 165, etc.
Moore: Poetry 251, Silence 255, etc.
Eliot: Love Song of J. Alfred Prufrock 278, Journey of the Magi 305, parts
of The Waste Land
Millay: Oh oh you will be sorry for that word 321, Well I have lost you
327
cummings: Poem, or Beauty Hurts Mr. Vinal 346, Next to of course god america
348, my sweet old etcetera 348
Brown: Scotty Has His Say 473, Slim in Atlanta 476, Slim in Hell 478, Old
Lem 482
Hughes: The Cat and the Saxaphone 505, Good-bye Christ 512, Madam and the
Phone Bill 521
Beecher: Report to the Stockholders 557
Rolfe: Are You Now or Have You Ever Been 616
Lowell: To Speak Woe That Is in Marriage 755
O'Hara: Why I Am Not a Painter 830, A True Account of Talking to the Sun
at Fire Island 831,
Creeley: I Know a Man 876, Age 879
Wright: A Centenary Ode 892
Merwin: Beginning 918
Levine: Franciso I'll Bring You Red Carnations 928, On the Meeting of Garcia
Lorca and Hart Crane 932
Knight: Hard Rock Returns to Prison 968, The Idea of Ancestry 969
Dumas: Knees of a Natural Man 994
Cortez: Do You Think 1027
Clifton: I Am Accused of Tending to the Past 1029, to my last period 1033,
Grahan: I Have Come to Claim Marilyn Monroe's Body 1068
Hass: Rusia en 1931 1075
Rodgers: and when the revolution came 1096, mama's god 1097
Louis: Petroglyphs of Serena 1134
Smith: Skinhead 1200
Foster: You'll be fucked up 1206, I'm always grateful no one hears this
terrible racket 1207, I try to pee but I can't 1209
Tom Leonard
Uses of Line
Distinguishing "end-stopped" or "enjambed"
lines is only the barest beginning of understanding the interactions of line
with sentence, line with rhythm, line with sound. Spend some time with the
poems on this list. Ask how line enforces grammatical phrase, or cuts across
it, creating new planes of perception not present in the sentence by itself.
Examine how image is created, line by line or phrase by phrase, and how each
added increment changes what we see. Examine the sequence of disclosure,
and whether the thing disclosed is descriptive or narrative. Watch closely
how line break, and all the interactions of line and syntax, create and alter
emphasis. Read the poems aloud, and listen to how the craft of line-making
directs your voice. Listen to speed, to speech-stress and metrical stress,
and to melody. Denise Levertov suggested that a line-break equals half a
comma's worth of pause -- is that what you hear? is that how you read? Charles
Olson taught that the line is somehow connected to the poet's breath -- is
that what you hear? how you read? Do short-line poets have breathing problems,
or did Olson mean something less literal?
On MFA exams we sometimes ask this question: You have been chosen for
the MFA debate team. Choose and defend one of these statements: "The line
is a unit of sound," or "The line is a unit of meaning." Which would
you choose? how would you defend it?
Sandburg: The Muckers 108, Child of the Romans 109
Loy: Songs to Joannes 150
Williams: The Red Wheelbarrow 170,
This is Just to Say 191, Proletarian Portrait 192, The Descent 193
Moore: The Fish 252, A Grave 254
cummings: In just spring
344, Buffalo Bill 346, My sweet old etcetera 348 etcetera
Brown: Southern Cop 484
Niedecker: Paean to Place 537
Rakosi: The Menage 547
Zukofsy: To My Wash-stand 551
Kunitz: Snakes of September 582
Roethke: Meditation at Oyster River 591 or
Journey to the Interior 593
Oppen: Image of the Engine 603, Exodus 606
Olson: Variations on a Theme... 620, Cole's Island 623
Bishop: several, including The Fish 631, At
the Fishhouses 634
Levertov: The Ache of Marriage 807
Blackburn: At the Well 824
Creeley: The Flower 876
Bly: Looking at Snow 881, Counting Small-boned
Bodies 882
Ammons: Corson's Inlet 884, Coon Song
888
J. Wright: Autumn Begins in Martin's Ferry
Ohio, Lying in a Hammock, A Blessing, all on 891
Rich: Shooting Script 935, Power 953
Snyder: Riprap 955, Beneath My Hand and Eye 956, and others
Corso: Bomb 963
Poems related to Counterpoint assignment, Version
One:
Levine: 2 poems above + Francisco I'll Bring
You Red Carnations 928
Williams: Queen Anne's Lace 166, Portrait of
a Lady 165
Komunyakaa: Tu Do Street 1142, Prisoners 1143,
The Fog Galleon 1147, Work 1147
Hayden: A Letter from Phillis Wheatley 699
Levine: Belle Isle 1949 927, & several that follow
Gluck: Parable of the Hostages 1085, Parable
of the King 1084
Harper: Deathwatch 1047
Olds: Ideographs 1079 & others that follow
Gluck: Parable of the Hostages 1085
Foster: You'll be fucked up 1206, I try to pee but I can't 1209
Tichy: At
a PC Sergeant's House
Poems related to Counterpoint
assignment, Version Two:
Oliver: Lillies Break Open 1023, Black Snake
this Time 1024
Doty: Homo Will Not Inherit 1183
Creeley: I Know a Man 876, For Love 877
Gluck: Circe's Power 1085
Meter & Line
Length
3-Beat lines,
both trimeter and accentual:
Frost: Neither Out Far
Nor In Deep 104
Jackson: The Wind Suffers
487
Stevens: 13 Ways of Looking
at a Blackbird
Bishop: At the Filling
Station 636, In the Waiting Room, The Armadillo 638
4-Beat lines, both
tetrameter and accentual:
Frost: Stopping by Woods
100
Stevens: Anecdote of
the Jar 130
Knight: For Malcolm,
Ten Years After 971
Iambic lines of varying
lengths:
Frost: Fire and Ice 95
Pound: The River Merchant's
Wife 205
Pentameter lines:
A. Lowell: The Sisters
48
Frost: Mending Wall 84,
An Old Man's Winter Night 92, Design 96
Stevens: Sunday Morning
McKay: The Harlem Dancer
315, If We Must Die 315, Mulatto 318
Millay: I Being Born
a Woman and Distressed 320, Love Is Not All 327 or other sonnets
Jarrell: A Front 714,
Losses 714, Second Air Force 715
Stafford: Traveling Through
the Dark 729
McGrath: Ode for the
American Dead in Asia 749
Brooks: The white troops
had their orders 770, Piano after war 769
Hecht: A Hill 815, More
Light! 816
Pinsky: The Shirt
1059
Syllabics:
Moore: Poetry 250, An Egyptian Pulled
Glass Bottle in the Shape of a Fish 252, The Fish 252, Sojourn in the Whale
253, Bird-witted 272, The Paper Nautilus 23, The Pangolin 269
Auden
Thomas
Gunn
Rhyme & Sound
Many, many rhymed poems appear in the anthology, of course. Here are a few
that reward close study of their rhymes. Identify in them poems the variety
and degree of sound resemblance and difference, and the affects on meaning
and tone. Locate rhymes that fall on unaccented syllables or secondary-accent
syllables, like a rhyme between “density” and “me.” If you are using my
"Rhyme Tables" you can look for instances of all the rhyme forms listed there.
Think, too, about the meaning of rhyme words. Are they important words?
Small “function words” like “and” or “of”? Do rhymed pairs complement each
other’s meaning or create contrast (white/bright vs white/blight)? Do you
find pairs of Latinate & Germanic words?
List One: poems including end-rhyme:
Dickinson #465 p.11, #258 p.9, #712 p.15: slant and true rhymes
Niedecker "Paean to Place" p.536: rhyme in free verse, variety of sound
resemblances & pattern variations
Millay "I being born" p.320: rhyme & wit, slant rhyme at end
Milay Love is not blind p.321: an Italian sonnet: compare rhymes in first
8 lines vs. last 6, & link to meaning
Millay: Oh oh you will be sorry 321: an English sonnet: find the patterns
& link to meaning
Moore “The Fish” 252: parts of speech, nearness & distance, accented
and un-
Moore: “An Egyptian Pulled-Glass Fish” 252: full & slant rhymes,
meanings, tone
Moore: Sojourn in the Whale 253: length of line & distance between
rhymes, rhymes on penultimate words
Cullen: Incident 530, Yet Do I Marvel 531: Rhyme, wit & satire, look
at meanings of rhyming pairs in “Marvel”
Jarrell: Death of the Ball-Turret Gunner 713: epigrammatic rhyme at end
Jarrell: A Front 714: slant rhymes w/ full-rhyme closure, look at meanings,
mood, how rhyme works in narrative
Plath: Daddy 984: monorhyme, obsessive tone, high and low vowels
Plath: Lady Lazarus 988: placement and degree of rhyme, full rhyme at
end
Plath: Ariel 987: how is use of rhyme same & different from “Lady
Lazarus”?
List Two: poems in which sound is especially prominent, but end-ryhme
is mostly or completely absent:
Levertov: The Ache of Marriage: high and low vowels, use of “it” &
related sounds, then density at the end
Williams: The Red Wheelbarrow p.170: what are
the sound patterns? what word stands out?
Williams: Portrait of a Lady p.65: relation
of sound to the disjointed speech & description, relation of this poem
to techniques of modern art
Harper: Brother John p.1044: rhythm, repetition, range of
sound resemblance, relation of this poem to jazz
Grahn: Plainsong p.1071, Carol p.1070: rhythm, repetition,
range of sound resemblance, relation of this poem to plainsong chant
Howe: Hope Atherton's Wanderings 1038
Mullen: from Trimmings 1187: range of sound resemblance +
puns, relation of this poem to advertising
Couplets:
Frost: Good-bye and Keep Cold 95
Spencer: Lady, Lady 163 (alternates rhymed w/ unrhymed couplets)
Toomer: Reapers 352, November Cotton Flower (a couplet sonnet) 353
Rolfe: A Little Ballad for Americans 619
Lowell: To Speak of Woe that Is in Marriage (a couplet sonnet) 755
Brooks: A song in the front yard (irregular form) 766
Creeley: America 878 (free verse), For Love 877
Dumas: Knees of a Natural Man 994
Quatrains:
Dickinson: almost any, beginning page 9
Robinson: Richard Cory 26, Minver Cheevy 27
Frost: Desert Places 102, Neither Out Far Nor In Deep 104,
Bogan: The Crows 379, Women 380
Rolfe: Asbestos 609
Bishop: The Armadillo 638
Wilbur: A Baroque Wall Fountain in the Villa Sciarra 792
Hecht: More Light! More Light! 816
Creeley: For Love 877 (free verse)
Sexton: The Truth the Dead Know 922
Levine: Animals Are Passing From Our Lives 926
Rich: Aunt Jennifer's Tigers 934 (couplet quatrain)
Ballad & Blues Quatrains:
Brown: poems starting p. 473: Scotty Has His Say, Slim in
Atlanta, Slim in Hell, Rent Day Blues
Hughes: Ballad of Roosevelt 513, Letter from Spain 517, Ku Klux 520, Madame
and the Phone Bill 521, Ballad of the Landlord 522, Backlash Blues 524, etc.
Cullen: Incident 530, Tableau 531, For a Lady I Know 531, etc.
Randall: Ballad of Birmingham 731
McGrath: A Little Song about Charity 746
Brooks: of DeWitt Williams 767, A Boy Died in My Alley 777
Hecht: More Light! More Light!
Dumas: Son of Msippi 991
Sonnets:
Frost: Design 96
In the early 20th c. the sonnet was revived and remade for
new uses by two American poets, Edna St. Vincent Millay & Claude McKay.
Millay retained the themes of love both true and false, spiritual and sexual,
but infused them with a woman's wit and a woman's anger. McKay used the
historical authority of this form to claim the status of a fully speaking
subject in the literary tradition, addressing within its sharp confines
a broad range of issues on race and power. To us, today, his diction may
appear abstract or even cliched, but it is important to remember the absolute
novelty and courage of these poems when they appeared. His work laid the
groundwork for the special power and purpose of the sonnet in African American
poetry of the century. This is the only sonnet tradition to which our editor,
Cary Nelson, is attracted, so in MAP you'll find more sonnets by Black poets
than White ones.
McKay: his poems, many of them sonnets, begin on 314; please
be sure to read The Harlem Dancer, If We Must Die, Outcast, & Mulatto
Millay: a selection of her sonnets begins on 320; please
be sure to read: I Being Born a Woman and Distressed 320, Oh Oh you will
be sorry 321, Love is not all 327
Cummings: next to of course god america 348
Cullen: Yet Do I Marvel 531
Brooks: Gay Chaps at the Bar 768; from this sequence please
be sure to read "Piano After War" and "The White Troops Had Their Orders"
J. Wright: Saint Judas 890
Knight: For Malcolm (tetrameter) 971
And Adrienne Rich's sequence of sonnet-like poems, Twenty-One Love Poems
Avant-Garde Forms:
Forms that are avant-garde in one generation have a way of becoming textbook
models a few decades later, so it's hard to define what's wanted here. Some
forms, however, always seek a small audience. I've included some Modernist
collage and cubist and forms that mix prose and verse, as well as the graphic
forms at the end of the anthology, along with forms more recently regarded
as "experimental." Links to more works follow the MAP list.
Stein: Patriarchal Poetry 54
Mina Loy: Songs to Joannes 150
Williams: The Descent of Winter 171-191
Pound: from The Cantos 206-231
Moore: Marriage 256, An Octopus 264
Eliot: The Waste Land 285
Crosby: beginning page 382
Tolson: Libretto for the Republic of Liberia 418
Ford: Plaint 706, Flag of Ecstasy 707
Kaufman: The Biggest Fisherman 819, Crootey Songo 819, No More Jazz at Alcatraz
819
Ashbery: beginning page 894
Howe: from Articulation of Sound Forms in Time 1036
Palmer: beginning page 1088
Silliman: beginning page 1098
Mullen: from Trimmings 1187, from S*PeRM*K*T 1188 [compare
Stein's Tender Buttons]
Hughes: Come to the Waldorf Astoria 1230, Christ in Alabama 1232
Brooks: We Real Cool 1233
Tom Phillips: A Humument
Ian Hamilton Finlay
Concrete & Visual Poetry
Susan Howe
Harryette Mullen
Susan Tichy: Heath IV
Two Hypertext Poems: My Boyfriend Came Home from the War
A link to my course on Concrete,
Visual, & Collage Poetry
Elegies & related poems:
Whitman: Vigil Strange I Kept on the Field
One Night 3
Dickinson: beginning on p. 9, #258, #280, #465,
#712
Williams: Widow's Lament in Springtime 166
Jeffers: Hurt Hawks 245
Moore: No Swan So Fine 269
Ransom: Bells for John Whiteside's Daughter
312
Millay: Say That We Saw Spain Die 329
Tate: Ode to the Confederat eDead 409
Roethke: The Flight 587
Oppen: In Alsace 605
Rolfe: Asbestos 609, Elegia 611
Bishop: One Art 647
Hayden: from Elegies for Paradise Valley 703
Jarrell: Death of the Ball Turret Gunner 713
Lowell: For the Union Dead 759
Brooks: We Real Cool 772, A Boy Died in My
Alley 777
Levertov: Olga Poems 808
Bly: Dead Seal Ner McClure's Beach 882
Levine: Francisco, I'll Bring You Red Carnations
828
Knight: For Malcolm, A Year After: 970
Plath: Daddy 984
Clifton: at the cemetery, walnut grove plantation
1030
Harper: We assume 1046, Reuben Reuben 1046,
Deathwatch 1047
Hongo: Ancestral Graves 1169,
Baca: Mi Tio Baca El Poeta De Socorro 1175
Espada: Federico's Ghost 1212
Epistle
Williams: This Is Just to Say 191
Pound: The River Merchant's Wife 205
Hayden: A Letter from Phllis Wheatley 699
Ars Poetica
Representative
Poetry's selection of poems on the art of poetry
Pastoral
Frost: many, beginning 8
Sandburg: Muckers 108, Grass 111
Stevens: Thirteen Ways of Looking at a Blackbird 127, Anecdote of the Jar
130
Spencer: God never planted a garden 163
Williams: Spring and All 167, The Red Wheelbarrow 171, Young Sycamore 170,
Proletarian Portrait 192m
H.D.: Oread 233, Sea Rose 234, Garden 234
Jeffers: Hurt Hawks 245, November Surf 246, The Purse-Seine 246, Vulture
248, Birds and Fishes 249
Taggard: Everyday Alchemy 336
cummings: in Just- 344, O sweet spontaneous 345
Toomer: Reapers 352
Bontemps: A Black Man Talks of Reaping 526,
Niedecker: Paean to Place 536
Rakosi: The Menage 547
Warren: Evening Hawk 576, Heart of Autumn 577
Kunitz: The Wellfleet Whale 578, The Snakes of September 582
Roethke: Cuttings 585, Cuttings II 586, North American Sequence: The Longing
589, Meditation at Oyster River 591, The Long Waters 595
Oppen: Imate of the Engine 603
Olson: Variations Done for Gerald an de Weile 620
Bishop: The Fish 631, Filling Station 636, The Armadillo 638
Everson: A Canticle to the Waterbirds 648
Stafford: Traveling Through the Dark 729, At the Bomb Testing Site 730,
The Indian Cave 731
Davidman: This Woman 733
Stone: Pokeberries 738, Drought in the Lower Fields 739
McGrath: Deep South 742
Lowell: Skunk Hour 757, Central Park 763
Bronk: At Tikal 782, Where It Ends 784,
Duncan: Often I am Permitted to Return to a Meadow 785
Dickey: The Sheep Child 800
Hecht: A hill 815,
Bly: Looking at New-Fallen Snow 881, The Dead Seal Near McClure's Beach
882
Ammons: Corson's Inlet 885, Gravelly Run 887, Coon Song 888
J. Wright: Lying in a Hammock at William Duffy's Farm 891, A Blessing 891
Kinnell: The Porcupine 906, The Bear 909
Merwin: For a Coming Extinction 916, Looking for Mushrooms at Sunrise 917,
The Gardens of Zuni 917, The Horse 918, Sun and Rain 919
Snyder: Beneath My Hand and Eye the Distant Hills Your Body 956
Knight: Haiku 968
Momaday: Plainview 1002, Buteo Regalis 1002, Crows in a Winter Composition
1003
Oliver: The Lilies Break Open 1023, Black Snake This Time 1024,
Louis: Coyote Night 1128
Komunyakaa: Work 1147
Satire
Loy: Songs to Johannes 150
Cullen: Yet Do I Marvel 531
Rolfe: Little Ballad for Americans 619
Stone: Some things You'll Need to Know Before Your Join the Union
740
McGrath: Crash Report 743, First Book of Genesis According to the
Diplomats 744, After the Beat Generation 748
Grahn: Vietnamese Woman Speaking to an American Soldier 1069 (satire
of carpe diem)
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