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At age thirty-six, acclaimed poet Marya Zaturenska's work reached its full potential even as she battled emotional and physical illness. Recently rediscovered diaries, published here for the first time, reflect that crucial period in the poet's life. Born in Kiev, Russia, Marya Zaturenska moved to New York City at the age of eight. To help support her family, she dropped out of public high school and held various jobs in a factory, a publishing house, and bookstore. By taking night courses she managed to complete high school. Meanwhile, she wrote poetry, some of which appeared in national magazines. In time, Zaturenska would publish eight books of poetry and a biography of Christina Rossetti for which she won critical acclaim. With her husband, Horace Gregory, she wrote A History of American Poetry, 1900-1940—and counted among her literary contemporaries Willa Cather, Theodore Raethke, May Sarton, Muriel Rukeyser, Robert Frost, W. H. Auden, Padraic and Mary Colum, and Malcolm Cowley. Significantly, these papers reveal a woman whose life brimmed with creativity, love of family, and good humor in the face of despair. Her keen poet's eye offers biting commentary on New York's literary scene. Furthermore, she not only chronicles the onset of World War II but also observes how the war reshaped American literary tastes and attitudes.

The Oxford History of Poetry in English is designed to offer a fresh, multi-voiced, and comprehensive analysis of 'poetry': from Anglo-Saxon culture through contemporary British, Irish, American, and Global culture, including English, Scottish, and Welsh poetry, Anglo-American colonial and post-colonial poetry, and poetry in Canada, Australia, New Zealand, the Caribbean, India, Africa, Asia, and other international locales. The series both synthesises existing scholarship and presents cutting-edge research, employing a global team of expert contributors for each of the volumes. Sixteenth-Century British Poetry features a history of the birth moment of modern 'English' poetry in greater detail than previous studies. It examines the literary transitions, institutional contexts, artistic practices, and literary genres within which poets compose their works. Each chapter combines an orientation to its topic and a contribution to the field. Specifically, the volume introduces a narrative about the advent of modern English poetry from Skelton to Spenser, attending to the events that underwrite the poets' achievements: Humanism; Reformation; monarchism and republicanism; colonization; print and manuscript; theatre; science; and companionate marriage. Featured are metre and form, figuration and allusiveness, and literary career, as well as a wide range of poets, from Wyatt, Surrey, and Isabella Whitney to Ralegh, Drayton, and Mary Herbert. Major works discussed include Sidney's Astrophil and Stella, Spenser's Faerie Queene, Marlowe's Hero and Leander, and Shakespeare's Sonnets.

Praised for her lyricism and mastery of meter and rhyme, Marya Zaturenska's poetry lit up American literature in the 1900s. But with the giddy 1920s, Zaturenska's traditional lyric grace and penchant for artifice rendered her passé. By her mid-thirties, Zaturenska had succumbed to emotional and physical illness. At the same time her work blossomed and critics acclaimed her for elevating lyric conventions to new plateaus. In 1937, she won a Pulitzer Prize for her magical collection, Cold Morning Sky. She was only thirty-six years old at the time. Critics pointed out that Zaturenska had assimilated lyric conventions and made them original and new. "What is so fine about these poems is that the control implicit in them does not lead to sterility or to false emotion," wrote the New York Times Book Review. "She is a mystic, but how neatly she refines the word." This new edition consists of over one hundred poems and twenty translations drawn from eight previous books. Early poetry from her teenage years reveals Zaturenska's budding talent, and an introduction by fellow poet and close friend Robert Phillips places this gifted writer firmly in both the historic and lyric tradition.