The metaphysical lure of Wallace Stevens’s poetry has tantalized readers for decades yet refuses to be pinned down, evading categories like idealism, realism, and anti-realism. Throughout his entire career from Harmonium (1923) to The Rock (1954), Stevens was haunted by the “one” and the possibilities of change. Does change contradict oneness? Can change only occur within oneness? What is to be ultimately transformed through poetry? This essay cuts into the mystical dimensions of Stevens’s work by reading his “great image” that has no shape—his presentation of the cosmological spirit-principle that exceeds the Western philosophical and religious traditions. Stevens’s mystical-ontological insight is frequently accompanied by decisive transformations of conception into perception and, further, a supersensible feeling that reconfigures the self-world continuum. Stevens’s exploration of the senses of order during times of war opens up new modes of mind-reality and self-world correlations that could, in modern democratic countries, precondition the conditions of political and social change.