Taken in Faith : Poems.

Intro -- Cover -- Half title -- Title -- Copyright -- Dedication -- Acknowledgments -- Contents -- I. Promontory Hills -- Coast Hillside -- The Pool -- Subjectivity -- Red-Tailed Hawk -- Nature Note: The California Poison Oak -- Elegy at Beaverhead County, Montana -- Point Lobos, 1950 -- The Return -- Holy Sonnets -- Error Pursued -- The Romantic Eros -- Autumn Drought -- Celebration -- Visible and Invisible -- Three Poems from Michelangelo -- Degrees of Shade -- Indecision -- Good Friday -- The Gift -- For an End -- On the Two Marys in a Fresco of the Crucifixion -- On Emily Dickinson -- For Edgar Bowers -- Melvilliana -- Original Sin -- Sierra Nevada Hike -- Epigrams -- Literary Theorist -- On a Painting by Todd Price of the 16th Michigan Infantry on Little Round Top, July 2, 1863 -- II. Crossing the Pedregal -- Lemuel Shaw's Meditation -- Melville's Letter to William Clark Russell -- Alike and Yet Unlike: General Richard Taylor Writes to Henry Adams -- Crossing the Pedregal -- III. Bright Fictions -- On an Early Cycladic Harpist (2600-2500 B.C.) in the J. Paul Getty Museum -- On an Early Cycladic Harpist (2500 B.C.) in the Archaeological Museum in Athens -- On an Attic Red-Figured Amphora (490 B.C.) by the "Berlin Painter" in the Metropolitan Museum -- On the Jamb-Statues of the Portail Royal (1150) of Chartres Cathedral -- On the Virgin and Child Carved in Oak (Auvergne, 1150-1200) in the Metropolitan Museum -- On Dieric Bouts's Virgin and Child (1460) in the California Palace of the Legion of Honor -- On Dürer's Etching of Pilate Washing His Hands (1512) -- On Breughel the Elder's The Harvesters (1565) in the Metropolitan Museum -- On Caravaggio's Conversion of St. Paul (1600) in Santa Maria del Popolo, Rome -- On Rembrandt's Etching of Joseph Telling His Dream -- On Rembrandt's Self-Portrait (1658) in the Frick Museum.

On Vermeer's Young Woman with a Water Jug (1658) in the Metropolitan Museum -- On Watteau's Pilgrimage to Cythera (1717) in the Louvre -- On Jan van Huysum's Vase of Flowers (1722) in the J. Paul Getty Museum -- On G. B. Tiepolo's Etching Adoration of the Magi (1753) in the Stanford Museum -- On Goya's Duel with Cudgels (ca. 1820), a "Black Painting" in the Prado -- On the Southworth and Hawes Daguerreotype of Massachusetts Supreme Court Chief Justice Lemuel Shaw (1851) -- On Fitz Hugh Lane's Approaching Storm, Owl's Head, 1860 -- On Erastus Salisbury Field's The Israelites Crossing the Red Sea (1863?) -- On Winslow Homer's Moonlight on Water (1895) in the Los Angeles County Museum of Art -- On Blakelock's Moonlit Landscape in the de Young Museum -- On Gary Melchers's Writing (1905) in the Los Angeles County Museum of Art -- On Leonard Baskin's Etching Benevolent Angel -- Notes -- Afterword.

In 1967, Yvor Winters wrote of Helen Pinkerton, "she is a master of poetic style and of her material. No poet in English writes with more authority." Unfortunately, in 1967 mastery of poetic style was not, by and large, considered a virtue, and Pinkerton's finely crafted poems were neglected in favor of more improvisational and flashier talents.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.