| A. Sutzkever |
| PART ONE |
| Blond Dawn (1934–1937) |
| • | Away From the Four Walls |
| • | Here I Am |
| • | In the Knapsack of the Wind |
| from Autumn Dances |
| • | I |
| • | IV |
| • | Gypsy Autumn |
| • | A Stack of Hay |
| The Gates of the Ghetto |
| • | I |
| • | II |
| • | III |
| • | IV |
| Siberia (1936) |
| In the Hut |
| • | I |
| • | II |
| • | III |
| • | Dawn |
| Recognition |
| • | I |
| • | II |
| • | Like a Sled Bedecked with Longing Bells |
| • | A Fur of Fire |
| In a Siberian Forest |
| • | I |
| • | II |
| • | III |
| • | To Father |
| • | Irtysh |
| Snowman |
| • | I |
| • | II |
| Siberian Spring |
| • | I |
| • | II |
| • | Kirghizes |
| My Childhood Friend Changury |
| • | I |
| • | II |
| • | III |
| At the Bonfire |
| • | I |
| • | II |
| • | The North Star |
| From the Forest (1937–1939) |
| • | From the Forest |
| • | Lost Nest |
| • | Landscape |
| Rain of Colors and Flowers |
| • | I |
| • | II |
| • | Electrical Content |
| In a Summer Morning |
| • | I |
| • | II |
| • | III |
| • | IV |
| • | Stars Become Sheaves |
| • | Sirius |
| • | On a Mountaintop |
| • | Beyond the Sun |
| • | My Temples Are Throbbing |
| • | from Ecstasies |
| Epilogue to the Forest (1939–1940) |
| • | War |
| • | Anthill |
| • | Gray Time |
| • | Madness |
| • | In a Garden |
| Faces in Swamps (June-July 1941) |
| Faces in Swamps |
| • | I. Faces in Swamps |
| • | II |
| • | III. Leaves of Ash |
| • | IV |
| • | V |
| • | The Circus |
| Written in Vilna Ghetto (1941–1943) |
| • | They Search |
| A Pack of Music |
| • | I |
| • | II |
| • | III |
| • | Execution |
| • | Am I Guilty |
| A Day in the Hands of the Stormtroopers |
| • | I |
| • | II |
| • | III |
| • | Three Roses |
| From the Poem "Three Roses" |
| • | I |
| • | II |
| • | III |
| • | IV |
| • | V |
| • | VI |
| • | VII |
| • | VIII |
| • | IX |
| My Mother |
| • | I |
| • | II |
| • | III |
| • | IV |
| • | V |
| • | VI |
| • | VII |
| • | VIII |
| • | From a Lost Poem |
| • | A Wagon of Shoes |
| On the Anniversary of the Ghetto Theater |
| • | I |
| • | II |
| • | How? |
| • | Grains of Wheat |
| • | A Moment |
| • | Moses |
| • | Teacher Mira |
| The Fortress |
| • | I |
| • | II |
| • | On My Thirtieth Birthday |
| • | The Lead Plates of the Rom Printers |
| Partisan Forest (1943–1944) |
| • | Stalks |
| To My Wife |
| • | I |
| • | II |
| • | III |
| • | March Through Swamps |
| Farewell |
| • | I |
| • | II |
| • | III |
| • | IV |
| • | V |
| • | VI |
| • | Frozen Jews |
| Clandestine City (1945–1947)— (Episodes from the epic poem) |
| • | A Nation of Ten |
| • | The Sewers |
| • | The House on Vingree |
| Resurrection (1945–1947) |
| • | Resurrection |
| • | Black Thorns |
| • | The Woman of Marble in Père Lachaise |
| In the Chariot of Fire (1947–1951) |
| • | Mirrors of Stone |
| • | On the Road to the Wailing Wall |
| • | A Vision |
| • | Shabazi |
| • | Yiddish |
| • | The Longing of Yehudah Ha-Levi |
| • | With Archaeologists |
| • | Silences |
| • | Poems from the Negev |
| • | The Ascent of Scorpions |
| • | Red-Headed Cities |
| • | Joseph's Bones |
| • | And You Don't See the Rain |
| • | Deer at the Red Sea |
| • | The Last Line |
| Small Hymns to Sodom |
| • | I |
| • | II |
| • | III |
| • | IV |
| • | V |
| • | The Cherry of Remembrance |
| • | Self-Portrait |
| • | Commentary on a Face in a Mirror |
| • | I Had a Neighbor |
| • | The Silver Key |
| Eternal Garments |
| • | I |
| • | II |
| • | III |
| • | Encounter |
| • | Ashamed |
| • | Chords from the Proud Forest |
| • | Dr. Atlas |
| • | Blackberries |
| Elephants at Night (1950–1954) |
| • | A Trip Through Africa, 1950 |
| • | On the Nile |
| • | Rain Dance |
| • | Dance of the Pygmies |
| • | Oasis |
| • | Zunga |
| • | Elephants at Night |
| • | Elephant Graveyard |
| • | The Immortal |
| • | The Monkey Merchant |
| • | Song of a Sick Girl |
| • | Lovesong |
| • | Lament of a Young Widow |
| • | Bride of the Thunder |
| • | Song to the Lord of the Clouds |
| • | Song of the Lepers |
| • | The Suicide of the Herreros |
| • | The Locust |
| • | Gray Fire |
| • | Farewell to an Arrow |
| • | Eulogy for an Ox |
| • | To a Tiger |
| Blind Milton (1954–1962) |
| Ode to the Dove |
| • | I |
| • | II |
| • | III |
| • | IV |
| • | V |
| • | VI |
| • | VII |
| • | VIII |
| • | IX |
| • | X |
| • | Else Lasker-Schüler |
| • | My Father |
| • | Hours |
| • | The Saw |
| • | Smoke of Jewish Children |
| Hail |
| • | I |
| • | II |
| • | From Myself to Myself |
| • | Trained Animals |
| • | The Road to Paradise |
| • | A Hundred-Year-Old Woman |
| • | Chosen Tree |
| • | Blind Milton |
| • | The Red Foot |
| • | A Winter Night |
| • | A Pot from the Attic |
| • | Gather Me In |
| Square Letters and Miracles (1964–1967) |
| • | What I Wanted to Say and Was Late |
| • | First Rain |
| • | When the River Overflowed Its Bank |
| • | The Ailing Poet to His Friend |
| • | With the Hundredth Sense |
| • | Zeykher Le-Ghetto |
| • | Close the Window |
| • | In Blue Gowns |
| The Smile of Maidanek |
| • | I |
| • | II |
| • | III |
| • | IV |
| • | V |
| • | VI |
| • | VII |
| Emblem |
| • | I |
| • | II |
| To Read, To Write |
| • | I |
| • | II |
| • | A Witness |
| • | Morning After a Night in Jaffa |
| • | The Shard Hunters |
| • | With Nostrils of Dogs |
| • | Desert Sun |
| • | The Third Silence |
| • | Covered with Half of Jerusalem |
| Ripe Faces (1968–1970) |
| • | Land of My Children |
| • | Branch with Last Cherries |
| • | Barefoot |
| • | My Armor |
| • | Falling Water |
| • | Signs |
| • | Report of a Journey |
| • | The Sculptor |
| From Old and Young Manuscripts (1935–1981) |
| • | Fragment |
| • | Recognition |
| • | Subforest Laughter |
| A Bunch of Grapes |
| • | I |
| • | II |
| • | III |
| Winedrops |
| • | I |
| • | II |
| • | Elegy |
| • | Divine Comedy |
| • | Wooden Steps |
| • | Legend |
| • | Needleshine |
| • | A Prayer |
| • | Small Elegy on the Extinction and Resurrection of a Single Word |
| • | The Great Silence |
| • | To Be Able to Say: I |
| New Poems (1987–1990) |
| Remembrances of Others |
| • | I |
| • | II |
| • | III |
| • | IV |
| • | V |
| • | VI |
| • | Paris 1988 |
| Inside Me |
| • | I |
| • | II |
| • | III |
| • | IV |
| PART TWO |
| Green Aquarium (1953–1974) |
| Green Aquarium |
| • | I |
| • | II |
| • | III |
| • | The Woman in the Panama Hat |
| • | Children's Hands |
| • | Lady Job |
| • | The Last of the Blind |
| • | Honey of a Wild Bee |
| Where the Stars Spend the Night (1975–1989) |
| Lupus |
| • | I |
| • | II |
| • | III |
| • | IV |
| • | V |
| • | VI |
| • | Where the Stars Spend the Night |
| Faithful Needles |
| • | I |
| • | II |
| • | III |
| • | IV |
| • | V |
| • | The Hunchback |
| The Boot and the Crown |
| • | I |
| • | IV |
| • | V |
| • | VI |
| Glikele |
| • | I |
| • | III |
| The Beggar with Blue Eyeglasses |
| • | I |
| • | III |
| • | IV |
| • | V |
| • | Slashed Lips |
| The Coin from Heaven |
| • | I |
| • | IV |
| • | V |
| • | The Artist |
| • | Hanukkah Candles |
| A Black Angel with a Pin in His Hand |
| • | I |
| • | II |
| • | III |
| • | IV |
| • | V |
| • | VI |
| • | VII |
| • | VIII |
| • | IX |
| • | X |
| The Gunpowder Brigade |
| • | I |
| • | II |
| • | III |
| • | IV |
| • | V |
| Postscript (1990) |
| • | The Bottom Line |
| • | On My Father's Yortsayt |
| Notes |
| • | Blond Dawn (1934–1937) |
| • | Siberia (1936) |
| • | From the Forest (1937–1939) |
| • | Epilogue to the Forest (1939–1940) |
| • | Faces in Swamps (June-July 1941) |
| • | Written in Vilna Ghetto (1941–1943) |
| • | Partisan Forest (1943–1944) |
| • | Clandestine City (1945–1947)— (Episodes from the epic poem) |
| • | Resurrection (1945–1947) |
| • | In the Chariot of Fire45 (1947–1951) |
| • | Blind Milton58 (1954–1962) |
| • | Square Letters and Miracles63 (1964–1967) |
| • | From Old and Young Manuscripts (1935–1981) |
| • | New Poems (1987–1990) |
| • | Green Aquarium (1953–1974) |
| • | Where the Stars Spend the Night (1975–1989) |
| ABRAHAM SUTZKEVER, |