Poetry can serve as theological revelation through what Ira Stone terms "imaginative theology" - a radical fusion of religious thought and poetic craft that responds to post-Holocaust challenges of meaning-making. Drawing upon Emmanuel Levinas's philosophy of ethical encounter with the other, Stone develops a theoretical framework distinguishing between discursive theology, theological meditation, and imaginative theology, positioning the latter as the highest form of sacred expression through art. Through close textual analysis of Stone's two poetry collections: *A Really Perfect Poem Has an Infinitely Small Vocabulary* (1999) and *Sketches for a Book of Psalms* (2000), alongside examination of his theological prose works, this study reveals how his experimental poetic techniques—including fragmented syntax, invented compound words, and unconventional forms—reflect modern dislocations of meaning while working toward linguistic and spiritual restoration. Stone's poetry embodies the Levinasian concept that authentic speech responds to the face of the other by declaring "Here I am," creating an ethical commitment through language. His work successfully exemplifies imaginative theology by offering readers encounters with authentic voices that demand ethical response, positioning him within the tradition of poet-theologians. Stone's distinctive approach provides essential insights into how contemporary Jewish poetry can address catastrophe while maintaining possibilities for meaning, prayer, and human connection.