BiblioVault - Books about Marianne Moore

Becoming a Poet

Elizabeth Bishop with Marianne Moore and Robert Lowell

David Kalstone

University of Michigan Press, 2001

Becoming a Poet traces the evolution of Elizabeth Bishop's poetic career through her friendships with other poets, notably Marianne Moore and Robert Lowell. Published in 1989 following critic David Kalstone's death, with the help of a number of his friends and colleagues, it was greeted with uniformly enthusiastic praise. Hailed at that time as "one of the most sensitive appreciations of Elizabeth Bishop's genius ever composed" and "a first-rate piece of criticism" and "a masterpiece of understanding about friendship and about poetry," it has been largely unavailable in recent years.

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Cultures of Modernism

Marianne Moore, Mina Loy, and Else Lasker-Schuler

Cristanne Miller

University of Michigan Press, 2005

Cultures of Modernism explores how the structure and location of literary communities significantly influence who writes, what they write about, and their openness to formal experimentation. These influences particularly affect women writers. Author Cristanne Miller notes striking patterns of similarity in the concerns and lives of women living in geographically distant centers of modernist production. She looks at three significant poets---the American Marianne Moore, the British expatriate Mina Loy, and the German Else Lasker-Schüler---in the context of cultural, national, and local elements to argue that location significantly affected their performances of subjectivity, gender, race, and religion. The first book of its kind, Cultures of Modernism breaks new ground while it contributes to the ongoing reconception of the modernist period.

"A fascinating, provocative, and genuinely original study of a 'different' modernism in poetry---namely, the Modernism of women poets."
---Marjorie Perloff, Stanford University

"An important and ambitious work that makes major contributions to the fields of gender studies and modernist studies, and to the study of modernist poetry."
---Robin Schulze, Pennsylvania State University

"Offers a welcome corrective to the unreflective critical tendency . . . to make broad claims about the historical experiences and cultural conundrums of 'women,' and particularly 'women writers.' Miller offers tour-de-force comparative readings . . . threading together the world-historical with the personal, poetics with the political, and wielding the instruments of scansion as deftly as a surgeon."
---Modernism/modernity, The Official Journal of the Modernist Studies Association

Cristanne Miller is Edward H. Butler Professor of English and Chair of the English Department at the University of Buffalo, State University of New York.

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Illusion Is More Precise than Precision

The Poetry of Marianne Moore

Darlene Williams Erickson

University of Alabama Press

Erickson examines the work of Marianne Moore in order to provide some consistently successful strategies for understanding her poetry

In 1935, T.S. Eliot wrote that Marianne Moore’s poems “form part of the small body of durable poetry written in our time.” In this comprehensive critical study of the American poet Marianne Moore (1887-1972) and her work, Erickson amply justifies Eliot’s praise, demonstrating the poet’s ability to combine close observation with a worldview presentation that is at once intuitive, kaleidoscopic, and optimistic. Unfortunately, over the years the excellence and originality of Moore’s work has been overshadowed by its apparent inscrutability. Erickson examines the work of Marianne Moore in order to provide some consistently successful strategies for understanding her poetry.

The thesis is centered in a line from Moore’s poem, “Armor’s Undermining Modesty”:” What is more precise than precision? Illusion.” Erickson argues that Moore came to see herself humorously as “Imagnifico, a Wizard in Words,” a magician who used her conjuries to express a truth beyond reason, a truth described by the philosopher Henri Bergson as intuition, the highest stage of the evolution of human understanding. Is Erickson’s contention that Moore’s sense of magic is inextricably bound up in her own uniquely feminine epistemology, the tendency to place great value on intuition, and to find one’s own voice among collections of many voices.

This study demonstrates that Moore’s voice is arguably the strongest female voice in twentieth century American literature and her poetic voice could hold its own in the company of the best of the other modernists. Unlike many current scholars, Erickson examines closely the texts of Moore’s poems themselves, allowing the poet’s own voice to speak clearly. The study also explores Moore’s obsession with time, her preoccupation with the visual, her interest in the forms of Hebrew verse and her “susceptibility to happiness,” an outlook at some odds with the twentieth century’s fascination with the “romance of failure.”

While the book is scholarly in its intent and carefully documented, it is eminently readable and will be of interest of anyone fascinated by the mind of a brilliant twentieth century woman.

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Marianne Moore, Elizabeth Bishop, and May Swenson

The Feminist Poetics of Self-Restraint

Kirstin Hotelling Zona

University of Michigan Press, 2002

This book examines the strategic possibilities of poetic self-restraint. Marianne Moore,Elizabeth Bishop, and May Swenson all wrote poetry that is marked by a certain reserve--precisely the motive against which most feminist poets and critics of the last thirty years have established themselves. Kirstin Hotelling Zona complicates this dichotomy by examining the conceptions of selfhood upon which it depends. She argues that Moore, Bishop, and Swenson expressed their commitment to feminism by exposing its most treasured assumptions: they not only challenge the ideal of autonomous self-definition, but also contest the integrity of a bodily or sexual authenticity by which that ideal is often measured.
In recent years critical studies of Bishop and Moore have flourished, a large percentage of them devoted to explorations of sexuality and gender. A gap is growing, however, between feminist repossessions of Moore and Bishop and recent readings of their antiessentialist poetics. On the one hand, these poets are appearing more frequently in the feminist canon, but the price of this inclusion is usually the suppression of their strategies of self-restraint. While Zona questions the poetic privileging of self-expression, she establishes contiguity between feminist poetry and developments in American poetry at large. In doing so she asserts the centrality of feminist poetry within discussions of contemporary American poetry, thereby challenging the common perception of feminist poetry as an "alternative" (which often means auxiliary) genre.
Kirstin Hotelling Zona is Assistant Professor of Poetry and Poetics, Illinois State University.

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Marianne Moore

Imaginary Possessions

Bonnie Costello

Harvard University Press, 1981

Marianne Moore

Questions of Authority

Cristanne Miller

Harvard University Press, 1995

Not confessional or autobiographical, not openly political or gender-conscious: all that Marianne Moore’s poetry is not has masked what it actually is. Cristanne Miller’s aim is to lift this mask and reveal the radically oppositional, aesthetic, and political nature of the poet’s work. A new Moore emerges from Miller’s persuasive book—one whose political engagement and artistic experiments, though not cut to the fashion of her time, point the way to an ambitious new poetic.

Miller locates Moore within the historical, literary, and family environments that shaped her life and work, particularly her sense and deployment of poetic authority. She shows how feminist notions of gender prevalent during Moore’s youth are reflected in her early poetry, and tracks a shift in later poems when Moore becomes more openly didactic, more personal, and more willing to experiment with language typically regarded as feminine. Distinguishing the lack of explicit focus on gender from a lack of gender-consciousness, Miller identifies Moore as distinctly feminist in her own conception of her work, and as significantly expanding the possibilities for indirect political discourse in the lyric poem. Miller’s readings also reveal Moore’s frequent and pointed critiques of culturally determined power relationships, those involving race and nationality as well as gender.

Making new use of unpublished correspondence and employing close interpretive readings of important poems, Miller revises and expands our understanding of Marianne Moore. And her work links Moore—in her radically innovative reactions to dominant constructions of authority—with a surprisingly wide range of late twentieth-century women poets.

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Marianne Moore, Subversive Modernist

By Taffy Martin

University of Texas Press, 1986

Myth and misconception have obstructed a clear understanding of the poetry and person of Marianne Moore. In this groundbreaking study, Taffy Martin delves beneath the layers of myth and recaptures the excitement that Moore's contemporaries, particularly William Carlos Williams, felt when they encountered her poetry. She reveals that, far from being a stanch upholder of Modernist order and stasis, Moore continually undermines the stability of her own medium, language. Unlike the writings of other Modernist poets, such as T. S. Eliot, who tried to create islands of order in the seas of twentieth-century fragmentation, Moore's work shows surprising awareness of that fragmentation. In this way, she anticipates the thematic preoccupation of Postmodernist writers and critics. In Marianne Moore, Subversive Modernist, Taffy Martin combines traditional scholarship and contemporary critical theory to create a feminist reading of one of the twentieth century's most difficult poets. In so doing, she places Moore in the tradition of Modernism, defines Moore's quarrels with it, and thus produces a broader understanding of both the poet and the movement. Drawing on Moore's unpublished correspondence, her reading notebooks, and her workbooks, as well as feminist criticism's attention to writers who elude traditional critical approaches, this excellent study provides much-needed insights into the Modernism, life, and art of Marianne Moore.

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