These notes, in turn, point readers to narrative accounts of Moore's associations with her early publishers that offer a range of historical, contextual, biographical, and bibliographic information about the publication events of Moore's poems and explore her attempts to shape her literary career in concert with some of her most famous modernist peers - Richard Aldington, H. D., Harriet Monroe, Ezra Pound, and William Carlos Williams."--BOOK JACKET.
A landmark definitive edition of one of our most innovative and beloved poets The landmark oeuvre of Marianne Moore, one of the major inventors of poetic modernism, has had no straight path from beginning to end; until now, there has been no good vantage point from which to see the body of her remarkable work as a whole. Throughout her life Moore arranged and rearranged, visited and revisited, a large majority of her existing poetry, always adding new work interspersed among revised poems. This makes sorting out the complex textual history that she left behind a pressing task if we mean to represent her work as a poet in a way that gives us a complete picture. New Collected Poems offers an answer to the question of how to represent the work of a poet so skillful and singular, giving a portrait of the range of her voice and of the modernist culture she helped create. William Carlos Williams, remarking on the impeccable precision of Moore’s poems, praised “the aesthetic pleasure engendered when pure craftsmanship joins hard surfaces skillfully.” It is only in New Collected Poems that we can understand her later achievements, see how she refashioned her earlier work, and get a more complete understanding of her consummate craftsmanship, innovation, and attention to detail. Presented and collected by Heather Cass White, the foremost scholar of Moore’s work, this new collection at last allows readers to experience the untamed force of these dazzling poems as the author first envisioned them.
Marianne Moore (1887-1972) has been heralded as America's greatest poet of the modernist movement. Her volume Collected Poems won the National Book Award and the Pulitzer Prize in 1952 and the Bollingen Prize in 1953. Born in St. Louis, Missouri, Moore eventually found her way to New York with her mother whom she continued to live with until her mother passed, a familial devotion so intense that William Carlos Williams complained that it was 'pathological' and prevented her from marrying any 'literary guys'. Moore never married. Linda Leavall is the first biographer to be granted access and freedom to quote from Moore's archives. More than just a standard biography, Leavall re-examines Moore's body of work to complement and enlighten the biography. Through Moore's poems and letters from T. S. Eliot, William Carlos Williams, and many others, Leavall has written what is sure to be the definitive biography of Moore.
A boy meets an older woman at the zoo, and together they observe the animals while she tells him about the process of writing poetry. Includes an author's note about Marianne Moore.
“An inventive and powerful coming of age story about the search for community and all the ways our ties to one another come undone. Jon Pineda has a poet’s eye for the details of this vivid, haunting landscape, and he brings it blazingly to life.” —Jenny Offill, author of Dept. of Speculation With the cinematic and terrifying beauty of the American South humming behind each line, Jon Pineda’s Let’s No One Get Hurt is a coming-of-age story set equally between real-world issues of race and socioeconomics, and a magical, Huck Finn-esque universe of community and exploration. Fifteen-year-old Pearl is squatting in an abandoned boathouse with her father, a disgraced college professor, and two other grown men, deep in the swamps of the American South. All four live on the fringe, scavenging what they can—catfish, lumber, scraps for their ailing dog. Despite the isolation, Pearl feels at home with her makeshift family: the three men care for Pearl and teach her what they know of the world. Mason Boyd, aka “Main Boy,” is from a nearby affluent neighborhood where he and his raucous friends ride around in tricked-out golf carts, shoot their fathers’ shotguns, and aspire to make Internet pranking videos. While Pearl is out scavenging in the woods, she meets Main Boy, who eventually reveals that his father has purchased the property on which Pearl and the others are squatting. With all the power in Main Boy’s hands, a very unbalanced relationship forms between the two kids, culminating in a devastating scene of violence and humiliation.
For Karen Garthe, poetry is a Molotov cocktail. A master of radical invention, Garthe combines brio of conception with linguistic virtuosity, bringing language to new life from the inside at breakneck speed. The Banjo Clock, her second collection, cultivates a luxuriant sensibility even as it interrupts poetic continuity with cuts, ironies, sharp wit, and wild recklessness. In poems that consider poetry itself, Garthe writes about preparing the medium, the ink, “the motion of new utility.” She then turns to America’s psychic maladies and the need to rehabilitate our democracy, now floundering in the glare of TV’s blue depressive light.
