Gathered here in their entirety are the seven previous volumes of Robert Francis poetry — Stand with Me Here, Valhalla and Other Poems, The Sound I Listened For, The Face against the Glass, The Orb Weaver, Come Out into the Sun, and Like Ghosts of Eagles — together with a group of recent poems, many not previously published but "saved" to end this volume on a note of newness.

Because the original seven volumes are kept in chronological order, the reader can follow the author's journey from his quiet early work to poetry of greater color, warmth, vitality, vivacity, and sportiveness; and can note just when and where Francis' style becomes more and more diversified, with word-count, fragmented surface, and the celebration of words themselves.

The book is graced with eight wood engravings by Wang Hui-Ming.

The poems offered here were gathered from what Robert Francis wrote in the last decade of his life and from earlier work not available either in his seven previous books or his Collected Poems, 1936-1976. While aging is a recurring theme, the later poems converse with the earlier ones in an engaging mixture of subject and tone, mingling the pastoral with the political, the contemplative with the Chaplinesque. Recipient of the Shelly Memorial Award, Prix de Rome, and Academy of American Poets Fellowship, Francis lived in Amherst, Massachusetts, until his death in 1987 at age eighty-five.

Robert Francis (1901–1987), the author of eight volumes of poetry, an autobiography, a book of fiction, essays on poetry, and a reminiscence of Robert Frost, lived for most of his career on the outskirts of Amherst, Massachusetts, devoting himself to Yankee simplicity and self-renunciation derived from his reading of Thoreau. His preference for solitude and disinclination to write about or promote himself account for the elusiveness of his persona in his prose and poetry.

This book charts how Francis developed and elaborated this persona through distanced self-portraits in prose and through poems that both reveal and conceal the self of the poet. Folded into the study are discussions of Francis's pastoralism, his affinities with Emerson and Thoreau, his experimentation with new poetic forms, his protest against the Vietnam War and environmental despoliation, his homoeroticism, and a comparison of his poetry with that of Robert Frost. The book also explores Francis's characteristic attitude, figured as "hovering," where his speaker is both subject and object, writing about himself while inhabiting the role of detached observer.

Complementing the emphasis on Francis's elusiveness, Andrew Stambuk offers readings of his poems attentive to aesthetic qualities that give them their particular reticence. Stambuk's sensitive evaluations underscore that Francis is a craftsman of intricate precisions whose work speaks to contemporary political and global concerns.