Acknowledgements.
Introduction.

Part I: 1900-20.

The Symbolism of Poetry: W.B. Yeats (1900).

Three Letters: Rainer Maria Rilke (1903, 1907, 1925).

Creative Writers and Daydreaming: Sigmund Freud (1908).

Romanticism and Classicism: T. E. Hulme (1911).

The Technical Manifesto of Futurist Literature: Filippo Marinetti (1912).

Poet Yeats: Rabindrantah Tagore (1912).

Robert Frost: Edward Thomas (1914).

Poetry as Spoken Art: Amy Lowell (1917).

The New Spirit and the Poets: Guillaume Apollinaire (1917).

A Retrospect: Ezra Pound (1918).

Note on Poetry: Tristan Tzara (1919).

On Poetry and On Contemporary Poetry: Velimir Khlebnikov (1919/20).

Tradition and the Individual Talent: T. S. Eliot (1919).

D. H. Lawrence Preface to New Poems (1920).

Prologue to Kora in Hell: William Carlos Williams (1920).

Part II: 1921-40.

General Aims and Theories: Hart Crane (1925).

The Negro Artist and the Racial Mountain: Langston Hughes (1926).

How are Verses Made: Vladimir Mayakovsky (1926).

Science and Poetry: I. A. Richards (1926).

A Survey of Modernist Poetry: Robert Graves and Laura Riding (1928).

Seven Types of Ambiguity: William Empson (1930).

The Poetic Process: Kenneth Burke (1931).

Poetry's Evidence and Automatic Writing: Paul Eluard and Andre Breton (1932/33).

New Bearings in English Poetry: F. R. Leavis (1932).

Lorca Play and the Theory of Duende: Frederico Garcia (1933).

Poetry and Grammar: Gertrude Stein (1935).

Poets with History and Poets Without History: Marina Tsvetaeva (1935).

Modernism: Walter Benjamin (1938).

The Figure a Poem Makes: Robert Frost (1939).

Poetry and Abstract Thought: Paul Valery (1939).

Part III: 1941-60.

Three Lectures on Poetry: Martin Heidegger (1941/44/46).

The Noble Rider and the Sound of Words: Wallace Stevens (1942).

Feeling and Precision: Marianne Moore (1944).

Poetry and Knowledge: Aime Cesaire (1945).

Projective Verse: Charles Olson (1950).

A Statement for Poetry: Louis Zukofsky (1950).

Is There Any Poetic Writing: Roland Barthes (1953).

The Concrete Universal: W. C. Wimsatt (1954).

Excerpts from Seminars and Papers: Jacques Lacan (1954/55/57).

What is Modern Poetry: Donald Davie (1955).

Mallarme's Experience: Maurice Blanchot (1955).

The Pleasure Principle/Writing Poems: Philip Larkin (1957/64).

On Lyric Poetry and Society: Theodor Adorno (1957).

Closing Statement: Linguistics and Poetics: Roman Jakobson (1960).

Part IV: 1961-80.

What I See in the Maximus Poems: Edward Dorn (1961).

Personism: A Manifesto: Frank O'Hara (1961).

When the Mode of the Music Changes/Abstraction in Poetry: Allan Ginsberg (1961/62).

The Poet and the City: W. H. Auden (1962).

Hunting Is Not Those Heads on the Wall/State/Meant: Imamu Baraka (1964/65).

A Sense of Measure: Robert Creeley (1964).

The Invisible Avant-Garde: John Ashbery (1968).

Closure and Anti-Closure in Modern Poetry: Barbara Herrnstein Smith (1968).

Poetic Language, Poetics of Language: Gerard Genette (1969).

Intentional Structure of the Romantic Image: Paul de Man (1970).

The Muse of History: Derek Walcott (1974).

The Ethics of Linguistics: Julia Kristeva (1974).

A Modest Proposal: Hans Magnus Enzensberger (1976).

Continuity in Language: Veronica Forrest-Thomson (1978).

Part V: 1980-2000.

The Poe-etic Effect: Soshana Felman (1980).

The Dollar Value of Poetry: Charles Bernstein (1983).

On Hope: Czeslaw Milosz (1983).

Blood, Bread and Poetry: Adrienne Rich (1984).

Prologue: The Deed of Writing: Richard Poirier (1987).

Even Under the Rine of Terror: Jeremy Cronin (1988).

Che cos'e la poesia: Jacques Derrida (1988).

The Homosexual Lyric: Thomas Yingling (1990).

Avant-Garde or Endgame: Marjorie Perloff (1991).

The Woman Poet: Her Dilemma: Evan Boland (1994).

The Redress of Poetry: Seamus Heaney (1995).

Soul Says: Helen Vendler (1995).

Chronology.