February 05, 2013
indirectly forthright, demure and definitive at once
Marianne Moore is always hiding in plain sight. She is the paradoxical radical, either distracting the reader from her traditionalism with avant-garde trappings or concealing rebellion in prim camouflage. She picketed for women’s rights and voted for Herbert Hoover. She distrusted the “obscenities” in William Carlos Williams and encouraged the “ability” in Allen Ginsberg. She breathed horror of “a sodomite” to one lesbian friend and signed letters to another “your affectionate albino-dactyl.” Those three-corned hats and men’s polo shirts: do they reflect an old-fashioned aversion to frippery or an innovative preference for androgyny? And her resolute urban celibacy (she lived in an apartment with her mother): a species of piety or a refusal of stereotypes? Moore’s mix of puritan and progressive seems quintessentially American—alert to the virtues of brown bread and the glories of Brancusi’s sculpture, to Pilgrim’s Progress as well as Ezra Pound. Likewise her get-to-the-point distrust of dreaming: “No wonder we hate poetry,” she writes in “Armor’s Undermining Modesty,” and “stars and harps and the new moon.” When Moore ends that poem on an “imperishable wish,” she means something as solid as the “hard yron” of another of her titles. Moore was indirectly forthright, demure and definitive at once.more from Siobhan Phillips at Boston Review here.
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