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This anthology brings together extensive selections of poetry by the five most prolific and prominent women poets of the English Civil War period: Anne Bradstreet, Hester Pulter, Margaret Cavendish, Katherine Philips and Lucy Hutchinson. It presents these poems in modern-spelling, clear-text versions for classroom use, and for ready comparison to mainstream editions of male poets’ work. The anthology reveals the diversity of women’s poetry in the mid-seventeenth century, across political affiliations and forms of publication. Notes on the poems and an introduction explain the contexts of Civil War, religious conflict, and scientific and literary development. The anthology enables a more comprehensive understanding of seventeenth-century women’s poetic culture, both in its own right and in relation to prominent male poets such as Marvell, Milton and Dryden.

This chapter contains sections titled: Further Reading

After a childhood of English-style fare, Jones came of age in New York during the deprivation of World War II, when rationing was in force. When she returned to New York in the 1950s, it was as one of publishing's few female editors (it helped that she had been first to read and recommend \"Anne Frank: The Diary of a Young Girl\" at Doubleday before she'd left). But at home, she was frustrated by \"the era of fast and simple,\" when prevailing American cookbooks called for convenient ingredients like canned string beans instead of the fresh haricots verts she had grown accustomed to in France.

Scores of other partnerships with cooks and chefs followed as Jones helped to establish Edna Lewis, Marion Cunningham, and James Beard, along with many others, as household names.

LET'S hit the high points of Judith Jones' career: pushed through the American translation of \"The Diary of Anne Frank\" and published Julia Child's \"Mastering the Art of French Cooking.\" All of this is a far cry from today, when cookbook publishing has been industrialized to the point that it is exceedingly difficult for authors without an established publicity \"platform\" (i.e. television show or restaurant) to get their books published.

Ms. [Judith Jones] said that, with so many young Americans traveling abroad after World War II, changes in the way they ate at home were inevitable. But who can say how widespread the phenomenon would have been without her influence? Had it been up to ''those silly men at Houghton Mifflin,'' as she describes the publisher who rejected the manuscript of ''Mastering the Art of French Cooking'' as being ''formidable to the housewife,'' American cooks might still be chained to back-of-the-box recipes and canned vegetables. At this point, Ms. Jones cheerfully confesses, ''Mastering the Art'' has been through so many reprints and re-edits, and so much of the original material has been revised, that it is almost entirely [Julia Child]'s work. ''That's the advantage of sticking around so long,'' she said. ''You can keep sneaking changes in.'' ''Judith is fearless,'' said Anne Mendelson, who is working with Ms. Jones on a book on American dairy products. (Ms. Mendelson occasionally reviews books for The New York Times.) ''This began as a nice cookbook with recipes using sour cream, and it's now this beast all about the weird and destructive things that are happening to our milk supply. But she hasn't blinked.''

Dorothy Kalins reviews Judith Jones autobiography, \"The Tenth Muse: My Life in Food.\"