Of special significance are the "Uncollected and Unpublished Poems (1912-1944)," the third section of the book, written mainly in the 1930s, during H. D.'s supposed "fallow" period. As these pages reveal, she was in fact writing a great deal of important poetry at the time, although publishing only a small part of it. The later, wartime poems in this section form an essential prologue to her magnificent Trilogy (1944), the fourth and culminating part of this book. Born in Pennsylvania in 1886, Hilda Doolittle moved to London in 1911 in the footsteps of her friend and one-time fiancé Ezra Pound. Indeed it was Pound, acting as the London scout for Poetry magazine, who helped her begin her extraordinary career, penning the words "H. D., Imagiste" to a group of six poems and sending them on to editor Harriet Monroe in Chicago. The Collected Poems 1912-1944 traces the continual expansion of H. D.'s work from her early imagistic mode to the prophetic style of her "hidden" years in the 1930s, climaxing in the broader, mature accomplishment of Trilogy. The book is edited by Professor Louis L. Martz of Yale, who supplies valuable textual notes and an introductory essay that relates the significance of H. D.'s life to her equally remarkable literary achievement.

From Renaissance to Baroque continues in the fine tradition of the highly respected critic, as Louis L. Martz addresses some of the central concerns in current studies of English poetry from the 16th and 17th centuries. ""From Renaissance to Baroque"" presents a selection of 12 essays examining the poetry of Marlowe, Spenser, Shakespeare, Donne, Herbert, Carew, Herrick, Marvell, Crashaw, and Vaughan, along with a study of ""Vergil's ""Eclogues"" and an exploration of the nature and function of pastoral poetry. As a whole these essays develop two themes: the context of religious controversy within which this poetry developed, and the relationship of poetry to the visual arts, especially those of Mannerism and the Baroque. In pursuing the latter theme the book includes 40 illustrations, one in full colour, drawn from Leonardo, Raphael, El Greco, Tintoretto, Vermeer, Bernini, Rubens, Rembrandt, and others. Of special interest is the discussion, with eight illustrations, of all the known portraits of John Donne. The final essay, ""The Protestant Baroque"", published here for the first time, presents the author's latest views on religious poetry and art of the seventeenth century. This suite of essays reflects Martz's breadth of understanding, as he reminds us that poetry is still an art, not merely a reflection of political oppression or coercion stuffed into meter and rhyme. The collection will be of major importance to all students of Renaissance poetry, especially those concerned with English religious poetry and with the relationship between poetry and the visual arts.

Now available for the first time as a trade paperback, Quetzalcoatl is the early version of D. H. Lawrence's great Mexican novel, The Plumed Serpent. Louis Martz says in his introduction that it presents, in terms as different as crayon is from oil, a closely related, but different work when compared with The Plumed Serpent. Most important in this earlier version is the treatment of its heroine, Kate Burns. Unlike the heroine of The Plumed Serpent, she is strong-minded and independent, the widow of a failed Irish patriot. In the end, she refuses to simply join the Mexican revolutionary movement -- based on a revival of the Aztec gods -- and passively submit to the manhood of its leader, Don Ramon. As Martz explains, Quetzalcoatl provides a much more powerful questioning of this mass-movement by filtering the account of its rise through the central consciousness of the heroine, Kate Burns, a woman of strong individuality who has lost faith in political revolutions. With Quetzalcoatl, we have an arguably stronger novel, more traditional, but like The Plumed Serpent, one that is wondrous for its vivid evocation of the Mexican culture and mythology, its full intensity of feeling, and psychological insight. This edition of Quetzalcoatl includes an illuminating introduction and textual commentary by Sterling Professor of English at Yale, Louis Martz.

Recent writings about Thomas More have questioned his integrity and motivation and have challenged the long-held view of him as a humane, wise, and heroic "man for all seasons." This new book responds to these revisionist studies by closely and persuasively analyzing More's writings as well as Holbein's portraits of More and his family. "Martz cuts down the revived charge of More as a bloodthirsty hunter of heretics, a furious, sexually repressed, and frustrated man. . . . This penetrating rebuttal of the revisionists deserves high commendation."-Choice "Martz draws a compelling picture of More's attempts during his lonely imprisonment to adjust to his human fear of death and to see his own plight in the perspective of the universal human condition. In these essays More's voice and personality speak to us from his own literate and humorous prose."-M. Edmund Hussey, Antioch Review "In his gracefully written Thomas More: The Search for the Inner Man, Louis L. Martz provides a sharply different account of the 'dark side' of More. . . . [He] lays out the case for a more complex, ironic construction of More's texts."-Stanley Stewart, Studies in English Literature "This . . . book is a gemstone."-Terence R. Murphy, History: Reviews of New Books "Correcting the view of Thomas More as a cold-blooded prosecutor of heresy, Martz here considers the gentle, affectionate, yet upright man pictured in Holbein's family portraits and implicit in More's prose."-Judith Fair, Theological Studies

This full and definitive treatment of the whole body of Milton's poetry, written by one of the country's most eminent Milton scholars, was originally published under the title Poet of Exile: A Study of Milton's Poetry. With a new title and an introduction developing the theme of exile, it is now issued in paperback for the first time. "The most important single study of Milton that has appeared in years.... For a long time to come, it will be the book from which Milton's oeuvre is reviewed and from which Milton criticism seeks renewal." -Joseph Wittreich, Modern Language Quarterly "Martz's pleasure in reading Milton is evident and he conveys that pleasure in his pages.... All of us will want to ponder and can expect to profit from a commentary on the text carried on with the educated understanding, tact, skill, and perceptiveness that are everywhere present in this book." -B. Rajan, Modern Philology "A work that is both rich and rewarding.... The background that Martz brings to his subject illuminates Milton's poetry in fresh and exciting ways." -Michael Lieb, Cithara "The strength of Martz's criticism arises from his style as well as his learning and good sense. Observations are made in a manner which both clears the mind and arouses the imagination. Commonplace facts, acknowledged but ignored, suddenly take on fresh significance, while the results of scholarly research are introduced with easy grace and relevance. No one writing of Milton today has a sharper eye for the illuminating detail." -Hugh Maccallum, University of Toronto Quarterly "Martz's sensitive, percipient comments on the interplay of styles in Milton's poems provide some overarching unity to these diverse essays." -Barbara Kiefer Lewalski, Journal of English and Germanic Philology "The best major study of Milton's whole poetic career in almost half a century." -Arnold Stein