This essay argues that at the center of Yusef Komunyakaa’s poetics, is a commitment to Gnosticism, a quest to find alternative ways of knowing. As an analogue to his sense that poetry at its best poses questions rather than seeking facile answers, Komunyakaa’s gnostic poetics is built around the impulse to embrace oppositions in which his poems endorse “critical values such as the virtue of transgression and the unity found in oppositions.” This essay argues that Komunyakaa’s poetics pursue a heuristic posture reminiscent of the emotional interiors revealed in blues music. Komunyakaa’s poems seek to explore the “strange debts we owe to others” along with “the strange debts we owe to ourselves, our imagination.”Looking at his later volumes of poems engage a variety of European landscapes and tropes, the influence of jazz and the blues on the poet’s oeuvre remains consistent. Employing Edward Pavlíc’s reimagining of James Baldwin’s notion of the “dark window” as a critical frame, this essay endeavors to provide a nuanced appraisal of Komunyakaa’s career, situating his poetry at the intersection of gnosis and improvisation.