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Haunted English explores the role of language in colonization and decolonization by examining how Anglo-Celtic modernists W. B. Yeats, Hugh MacDiarmid, and Marianne Moore \"de-Anglicize\" their literary vernaculars. Laura O'Connor demonstrates how the poets' struggles with and through the colonial tongue are discernible in their signature styles, using aspects of those styles to theorize the dynamics of linguistic imperialism—as both a distinct process and an integral part of cultural imperialism. O'Connor argues that the advance of the English Pale and the accompanying translation of the receding Gaelic culture into a romanticized Celtic Fringe represents multilingual British culture as if it were exclusively English-speaking and yet registers, on a subliminal level, some of the cultural losses entailed by English-only Anglicization. Taking the fin-de-siècle movements of the Gaelic revival and the Irish Literary Renaissance as her point of departure, O'Connor examines the effort to undo cultural cringe through language and literary activism.

Making Girls into Women offers an account of the historical emergence of \"the lesbian\" by looking at late-nineteenth- and early-twentieth-century women's writing. Kathryn R. Kent proposes that modern lesbian identity in the United States has its roots not just, or even primarily, in sexology and medical literature, but in white, middle-class women's culture. Kent demonstrates how, as white women's culture shifted more and more from the home to the school, workplace, and boarding house, the boundaries between the public and private spheres began to dissolve. She shows how, within such spaces, women's culture, in attempting to mold girls into proper female citizens, ended up inciting in them other, less normative, desires and identifications, including ones Kent calls \"protolesbian\" or queer. Kent not only analyzes how texts represent queer erotics, but also theorizes how texts might produce them in readers. She describes the ways postbellum sentimental literature such as that written by Harriet Beecher Stowe, Louisa May Alcott, and Emma D. Kelley eroticizes, reacts against, and even, in its own efforts to shape girls' selves, contributes to the production of queer female identifications and identities. Tracing how these identifications are engaged and critiqued in the early twentieth century, she considers works by Djuna Barnes, Gertrude Stein, Marianne Moore, and Elizabeth Bishop, as well as in the queer subject-forming effects of another modern invention, the Girl Scouts. Making Girls into Women ultimately reveals that modern lesbian identity marks an extension of, rather than a break from, nineteenth-century women's culture.

Criminal Ingenuity offers both a history and a theory of the conflicted relation between poetry and painting in high and mid-century modernism, focusing on figures like T.S. Eliot, Clement Greenberg, Marianne Moore, John Ashbery and Joseph Cornell.

This highly innovative work on poetic influence among women writers focuses on the relationship between modernist poet Elizabeth Bishop and her mentor Marianne Moore. Departing from Freudian models of influence theory that ignore the question of maternal presence, Joanne Diehl applies the psychoanalytic insights of object relations theorists Melanie Klein and Christopher Bollas to woman-to-woman literary transactions. She lays the groundwork for a far-reaching critical approach as she shows that Bishop, mourning her separation from her natural mother, strives to balance gratitude toward Moore, her literary mother, with a potentially disabling envy. Diehl begins by exploring Bishop's memoir of Moore, \"Efforts of Affection,\" as an attempt by Bishop to verify Moore's uniqueness in order to defend herself against her predecessor's almost overwhelming originality. She then offers an intertextual reading of the two writers' works that inquires into Bishop's ambivalence toward Moore. In an analysis of \"Crusoe in England\" and \"In the Village,\" Diehl exposes the restorative impulses that fuel aesthetic creation and investigates how Bishop thematizes an understanding of literary production as a process of psychic compensation.

While critics have praised Marianne Moore's An Octopus' for its scientific precision, ecocritics have been troubled by the environmental obfuscation of modernist collage. Moore's appropriation of language from the National Park Service, mountaineering guides, as well as popular scientific articles not only critiques the commodification of nature as an aesthetic, scientific, and bureaucratic commodity in the early twentieth century-but also reflects what Donna Haraway calls \"tentacular thinking\" of ecological assemblages that cut across the nature-culture divide. Moore's collage technique thus historicizes and prefigures contemporary ecocritical discourse by offering a \"tentacular\" approach to ecopoetics that records and complicates the many discourses that impinged upon nature during the period of high modernism. What ultimately emerges in An Octopus\" is a post-anthropocentric construction of nature.

In Apparition of Splendor: Marianne Moore Performing Democracy through Celebrity, 1952-1970, Elizabeth Gregory explores how actively Moore used her celebrity persona during her final two decades in the 1950s and 1960s to invite more readers to contemplate what democracy means in their daily lives, with regards to gender, race, social class, or age. According to Gregory, the poem \"Apparition of Splendor\" (1952) marks the beginning of Moore's late stage, and the poetic character \"apparition\" in it \"seems linked to the emerging public persona\" (29), which may explain the title of Gregory's study. [...]in \"Blue Bug\" (1962), as Gregory proposes, Moore achieved the goal of reaching mixed-brow readers by writing about polo, an elite sport, with the inspiration of a pony snap in a sports magazine which was not typically regarded as great art, and by celebrating the success of a pony with the poetic form of odes. [...]Moore identifies herself with her non-human characters as well as those excluded from mainstream values, inviting participation from diverse audiences, along with their reflection upon the democratic social structure. Followed by the analysis of Moore's avid attention to the sports field, chapter three illustrates that Moore also links art and democratic politics in her later poems, with \"Style\" (1956) subtly alluding to the anti-fascist cause and \"Combat Cultural\" (1959) explicitly referring to Cold War diplomacy, in an effort to engage Americans who have made a commitment to democracy to support the anti-fascist cause.

In 1967, Wilmer Lucas wrote that N. H. Pritchard’s poems “decompose the reader by sight and sound.” This essay follows Lucas’s prompt in several ways. It examines Pritchard’s early poetry in the context of the New York art scene and the Umbra Poets Workshop, outlining his development of the concept of “transrealism” and the subsequent visual reorganization of his work, before focusing on the sonic dimensions of his poetry, and suggesting that his approach ultimately led him toward silence. The conclusion emphasizes Pritchard’s legacy in the work of new generations of experimental musicians and poets and its continuing relevance today.

Through her engagement with the aesthetic and onto-epistemological principles of Zen and Taoism, Marianne Moore's poetic imagination develops assemblages that foreground the interdependence and entanglement between human and non-human agencies. Moore opposes traditional forms of anthropocentric writing by amplifying a poetics that decenters human subjectivity, acknowledges the limitations of language and reason, and elevates more-than-human agency beyond the recognition of its ineffability by human frameworks of knowledge. In particular, she enables this through the minimalism of her Zen/Tao-inflected later poems and through the drastic revisions of earlier works. The impact of Zen and Taoism on her work enables her to create a universal poetics that amplifies material-spiritual entanglements within heterogeneous assemblages of matter and meaning.

Alors que les centenaires de divers « monuments » modernistes rappellent quels paradoxes entourent la « tradition du neuf » (H. Rosenberg) que leurs auteurs et critiques ont contribué à instaurer, l’œuvre poétique de Marianne Moore nous invite à réenvisager le mouvement à l’aune de temporalités alternatives, qui en compliquent radicalement l’histoire et les manières de l’écrire. Entre parutions éphémères dans des petites revues et élaboration d’un corpus de recueils perpétuellement changeant, qui finira par dissoudre les contours d’un moment faussement inaugural, le premier volume américain de l’autrice, Observations (1924), permet de mesurer l’intérêt que Moore porta à l’histoire sous toutes ses formes (littéraire, humaine, ou encore naturelle), autant que les façons dont elle s’employa à en brouiller le dess(e)in, au moment même où l’historiographie connaissait ses premiers soubresauts. Récusant tout autant quête des origines que visions prophétiques, ses « observations » s’offrent comme un montage de temporalités impures, une dialectique à la fois visuelle et textuelle, dont le pouvoir anachronique en vient à défaire et reconfigurer sans cesse l’histoire même du mouvement moderniste. While the centennials of various modernist “monuments” are eliciting the paradoxes at work in “tradition of the new” (H. Rosenberg), which their authors and critics have contributed to create, Marianne Moore’s poetry invites us to reconsider the movement through alternative temporalities that radically complicate history and how it is written. Between her ephemeral publications in little magazines and the shaping of an ever-changing corpus of books, which has dissolved the significance of a falsely inaugural landmark, Moore’s first American collection, Observations (1924), evinces the poet’s interest for all forms of history (whether literary, human or natural), and how Moore sought to blur its designs, while historiography was under its critics’ first attacks. Her “observations” reject both the quest for origins and prophetic visions, and offer a montage of impure temporalities, a visual and textual dialectics whose anachronical power ultimately unravels and reshapes the very history of the modernist movement.