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이 책은 일반 독자층을 대상으로 한 책으로, 전문적인 내용을 비전공인 일반 독자들도 쉽게 이해할 수 있도록 풀어쓴 교양 도서이다.

일제강점기에 태어나 전쟁 직후 작품 활동을 시작한 시인 박성룡은 1950년대 시문학사에서 전통주의 시인으로 분류되곤 한다. 전후의 불안과 허무를 노래하던 당대 주류 경향 한편에는 내면세계로의 침잠과 존재의 탐구를 서정적인 어조로 노래하던 시인들이 있었고, 박성룡은 비주류 중에서도 자신만의 독특한 시 세계를 보여 주었다. 서정적이고 전통주의적이면서도 현대적인 언어 감각을 지니고 있어 대상을 치밀하고 섬세하게 전면화했기 때문이다.
오랜 기자 생활과 정년 이후 생활의 변화가 그의 견고한 시적 구조에도 변화를 주었지만 언제나 시를 통해 대상, 나아가 우주의 근원과 본질을 바라보고자 했던 태도는 지속되었다. 그러한 시인으로서의 자세가 현대적인 언어 감각을 지닌 서정 시인으로서 박성룡의 이름을 한국 시문학사에 남기게 했을 것이다.

가을에 잃어버린 것들
郊外·····················3
능금·····················6
풀잎·····················7
FALL····················10
花甁 風景··················12
바람 부는 날·················14
庭園····················16
霧雨····················18
이슬····················20
손·····················22
楊貴妃꽃··················26
錯覺 一點··················28
바다에서··················29
車窓 風景··················31
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果木····················35
結論····················36
白紙····················38
가을을 듣고 그리기에는············40
倚子 風景··················42
昆蟲學者··················44
抱擁····················45
家族展···················47
處署記···················49
어느 시골길에서···············51
向日性···················53
메밀꽃···················56
어린이 時間·················57
겨울 대낮··················59
發病記···················61
十二月···················63
自畵像···················65
가을 序說··················67
散策길에서·················69
國際空港 近處에 滿發한 코스모스·······71
어느 老詩人에게···············73

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해설····················133
지은이에 대해···············143
엮은이에 대해···············148