| The Collected Essays of Robert Creeley |
| INTRODUCTION |
 | I— HEROES/ELDERS |
| • | Introduction to Penguin Selected Whitman |
| • | Hart Crane and the Private Judgment |
| • | The Letters of Hart Crane |
| • | A Note on Ezra Pound |
| • | Why Pound!?! |
 | The Release |
| • | William Carlos Williams: Selected Essays |
| • | A Character for Love |
| • | The Fact |
| • | Foreword to The Manuscripts and Letters of William Carlos Williams |
| • | "paradise/our/speech . . ." |
| • | Louis Zukofsky: All: The Collected Short Poems, 1923–1958 |
| • | A Note |
| • | All Ears Hear Here |
| • | For L.Z. |
| • | A Personal Note |
| • | A Note on Basil Bunting |
| • | Basil Bunting |
| • | H. D. |
| • | Here |
| II— THE COMPANY |
| Introduction to The New Writing in the USA |
| • | Charles Olson: Y & X |
| • | Charles Olson: In Cold Hell, in Thicket |
| • | Preface to Mayan Letters |
| • | Charles Olson: The Maximus Poems, 1–10 |
| • | Olson & Others: Some Orts for the Sports |
| Some Notes on Olson's Maximus |
| • | Introduction to Charles Olson: Selected Writings I |
| Introduction to Charles Olson: Selected Writings II |
| • | "A Foot Is to Kick With" |
| • | "An Image of Man . . .": Working Notes on Charles Olson's Concept of Person |
| • | Charles Olson's Masterwork |
| • | "A Light, a Glory, a Fair Luminous Cloud" |
| • | "To Disclose That Vision Particular to Dreams" |
| • | Preface to Robert Duncan: A Descriptive Bibliography |
| • | "An Intensely Singular Art" |
| • | Edward Dorn in the News |
| • | Edward Dorn's Geography |
| • | Preface to Selected Poems |
| • | The New World |
| • | For Michael |
| • | Preface to Against the Silences |
| • | "How Is It Far If You Think It?" |
| III— THE WRITING LIFE |
| • | Kenneth Patchen: Fables & Other Little Tales |
| • | A Note on Canadian Poetry |
| • | Canadian Poetry 1954 |
| • | D. H. Lawrence: Studies in Classic American Literature |
| • | Witter Bynner: Journey with Genius |
| • | Louis-Ferdinand Céline: Guignol's Band & John Hawkes: The Goose on the Grave |
| "By God, Pomeroy, You Here!" |
| • | Waiting for Godot |
| Ramón Sender: Two Novels |
| On Love |
| • | The Journals of Jean Cocteau |
| • | Kenneth Rexroth: In Defense of the Earth |
| • | Edward Dahlberg: The Sorrows of Priapus |
| • | Evergreen Review , Nos. 1 and 2 |
| • | "To Build Castles in Spain" |
| • | "Her Service Is Perfect Freedom" |
| • | A New Testament |
| • | Ways of Looking |
| • | The Fascinating Bore |
| • | Preface to Sticks and Stones |
| • | "Think What's Got Away . . ." |
| • | The Beat Voznesensky |
| • | Judson Crews |
| • | A Note for Thread and Fielding Dawson |
| • | A Note for Kenneth Irby |
| • | Frederick Eckman: The Epistemology of Loss |
| • | A Note for These Poems . . . |
| • | Rainer Gerhardt: A Note |
| • | Introduction to Thongs |
| • | AM |
| • | Introduction to Krazy Kat/The Unveiling & Other Stories |
| • | For Diane |
| • | Foreword to The Sterile Honeycomb |
| • | Gee Gerry G . . . |
| • | Lew |
| • | A Note for Hilda Morley: A Blessing outside Us |
| • | Foreword to Sojourner Microcosms |
| • | Introduction to The Manner Music |
| • | Preface to Nolo Contendere |
| • | Preface to The Blind Receptionist and Other Poems |
| • | Foreword to Running Grass: Poems 1970–1977 |
| • | Xmas As in Merry |
| • | Poetry of Commitment |
| • | First Prize |
| • | Cowboys and Indians |
| • | Ted Berrigan's Death |
| • | William Corbett: Two Books |
| • | No Matter What: A Note for Collected Poems |
| • | An Afterword to Splendide-Hôtel |
| • | The Gentle on the Mind Number |
| • | With Crusoe, on Familiar Shores |
| • | Kenneth Koch's Selected Poems, 1950–1982 |
| • | Gone Fishing |
| • | From the Language Poets |
| • | A True Poet |
| • | Preface to The Leafless American |
| • | Foreword to The Collected Poems of Marsden Hartley |
| • | Foreword to Trumpets from the Islands of Their Eviction |
| IV— ARTISTS |
| • | On the Road: Notes on Artists & Poets, 1950–1965 |
| • | Divers Sentiments |
| • | René Laubiès: An Introduction |
| • | A Note on Franz Kline |
| • | Philip Guston: A Note |
| • | Harry Callahan: A Note |
| • | A Note |
| • | Feedback: "Contemporary Voices in the Arts" |
| • | John Chamberlain |
| • | Frank Stella: A Way to Go |
| • | "Mehr Licht . . ." |
| • | Ecce Homo |
| Three Films |
| • | Bill the King |
| • | "Some Place Enormously Moveable": The Collaboration of Arakawa and Madeline H. Gins |
| • | Introduction to Larry Bell: New Work |
| • | Memories of John |
| • | My New Mexico |
| Jim Dine/Five Themes |
| • | Face It |
| • | Seeing Things: Preface to Scopophilia |
| • | Foreword to The Poet Exposed |
| V— AUTOBIOGRAPHY AND POETICS |
| • | A Note on the Objective |
| Notes for a New Prose |
| • | How to Write a Novel |
| • | To Define |
| • | A Dilemma |
| • | A Note |
| • | A Note on the Local |
| • | A Quick Graph |
| • | "Statement" for the Paterson Society |
| • | Why Bother? |
| • | A Sense of Measure |
| • | "Poems Are a Complex" |
| • | A Statement about the Poem "The Name" |
| • | Notes Apropos "Free Verse" |
| • | "I'm given to write poems" |
| • | The Black Mountain Review |
| • | The Writer's Situation |
| Writing |
| • | I |
| • | II— Contexts of Poetry[fn*]II— Contexts of Poetry |
| • | A Postscript |
| • | On the New Cultural Conservatism |
| • | The Creative |
| Inside Out |
| • | Foreword to Robert Creeley: An Inventory, 1945–1970 |
| Last Night |
| • | Was That a Real Poem or Did You Just Make It up Yourself? |
| • | A Note for Hello |
| • | Letter from Berlin |
| • | Berlin, Etc. |
| • | Form |
| INDEX |