This study is an examination of the way how Stevens`s poetry approaches Husserl`s phenomenological procedure. Stevens searches for a new understanding of what modern poetry should be. The nature of this search is expressed in the poems that carry his ideas about poetry and imagination. His search is, in one sense, an investigation of the power of the mind and the relation of the mind to reality. But unlike the philosopher whose interests are directed toward the discovery of a system of theory of knowledge, Stevens directs his investigations toward a better understanding of the processes of the mind that lead to a new poetry. In other words, Stevens`s interests are philosophical in nature but the intended result is aesthetic. Stevens`s slogan of a new poetry is "Let`s see the very thing and nothing else"(CP, 323, in Husserl`s terms, "to things themselves"). The return to things themselves mean that the only basis for certainty is the objects perceived by the mind. For Stevens, the rejection of all presuppositions is the only way to assure that perception can take place without distorting the conceptions of reality. Naturally it becomes necessary for Stevens to place in abeyance our cultural habits of thoughts so as first to see and think purely in poetic terms. In short, what is called for is a poetic practice similar to the methodological procedure Husserl labeled epoche, that is, the suspension of what is held to be true "objectively" and of what is known conceptually, in order to focus attention on what is intended in an unmediated act of awareness. Husserl, we recall, was concerned to refine this notion and establish it as a first methodological principle of phenomenology. So a number of surface similarities between Stevens and Husserl are recognized in discussions of Stevens`s poetry.