Marianne Moore

During her lifetime Marianne Moore was that rarest of combinations, a genuine leader in the art of poetry, as well as a bona fide celebrity. She was an instantly recognisable symbol of Brooklyn, New York, appearing on the cover of Life magazine, asked by the Ford Motor Company to christen their new family sedan, and by the New York Yankees to throw the opening pitch of their baseball season. However, because of Moore's restless, seldom-ceasing, decade-spanning revision of her own poems, creating a 'stable' text of her work has posed editors a challenge ever since. Moore tackled the problem herself: Complete Poems (1967) was her own selection, but she favoured the later work, including less than half of her output up to that point. 'Omissions are not accidents,' she wrote pointedly in that edition, but for some readers the absence of more than one hundred poems constituted a wilful neglect of her startlingly innovative, highly influential early work, and contributed to Moore's undervaluing as a 'modernist' poet. Marianne Moore scholar Heather Cass White has prepared an edition of poems that, for the first time, presents the full range of Moore's work in its published order, while honouring the complex textual lives of the poems. With an inviting introduction and meticulous notes, the New Collected Poems of Marianne Moore is the first definitive text of this most celebrated writer, whose poems form part, as T. S. Eliot declared, of 'the small body of durable poetry written in our time'.

A Penguin Classic This complete collection of Moore's poetry, lovingly edited by prize-winning poet Grace Schulman, for the first time gathers together all of Moore's poems, including more than a hundred that were previously uncollected and unpublished. This long-awaited volume will reveal to Moore's admirers the scope of her poetic voice and will introduce new generations of readers to her extraordinary achievement. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Marianne Moore's correspondence makes up the largest and most broadly significant collection of any modern poet. It documents the first two-thirds of this century, reflecting shifts from Victorian to modernist culture, the experience of the two world wars, the Depression and postwar prosperity, and the changing face of the arts in America and Europe. Moore wrote letters daily for most of her life--long, intense letters to friends and family; shorter, but always distinctive letters to an ever-widening circle of acquaintances and fans. At the height of her celebrity, she would occasionally write as many as fifty letters a day. Both Moore and her correspondents appreciated the value of their exchange, so that an extraordinary number of letters, approximately thirty thousand, have been preserved. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Marianne Moore - That Harp You Play So WellForgotten Poets #23 / forgottenpoets.substack.com'That Harp You Play So Well' 90 pages] brings together a selection of poems by New York poet, Marianne Moore, including the entire long poem sequence 'Marriage' (1923), and a generous selection of Moore's other verses (originally published 1921-1924), as well as the essay 'New Verse Since 1912' (1926); with illustrations by Pamela Bianco. Moore was a revolutionary poet, working in the grey space between 'free' and 'rhymed' verse, and a significant poet of the 'new verse' movement of the 1920s.. . . . . . . . .-: TO A SNAIL: -If "compression is the first grace of style,"you have it. Contractility is a virtueas modesty is a virtue. It is not the acquisition of any one thing that is able to adorn, or the incidental quality that occursas a concomitant of something well said, that we value in style, but the principle that is hid: in the absence of feet, "a method of conclusions";"a knowledge of principles,"in the curious phenomenon of your occipital horn.. . . . . . . . .-: APROPOS OF MICE: -Come in, Rat, and eat with me;One must occasionally-If one would rate the rat at his true worth- Practise catholicity. Cheeseparings and a porkrindStock my house-good of their kind But were they not, you would oblige me? Is Plenty, multiplicity? . . . . . . . . . The Forgotten Poets Newsletter presents: new collections of out-of-print and obscure poetry, with a focus on compressed & fragmented 'free' and 'new' verse from the late-1800s & early-1900s, & the early history of English-language tanka & haiku. Verses are carefully selected & spaciously laid-out, adorned with illustrations & ornaments from the books & magazines they originally appeared in.

Faber Stories, a landmark series of individual volumes, presents masters of the short story form at work in a range of genres and styles. A wily cat, a strange romance, detestable daughters: the great American poet Marianne Moore retells three stories originally written by Charles Perrault to amuse the niece of Louis XIV. Modern readers may be surprised to find that the prince does not wake Sleeping Beauty with a kiss - the more he cares, the less willing he is to intrude - and that his mother is descended from ogres. Characterised by vivid imagery, uncluttered prose, inventive alliteration and a sly sceptic's wit, Moore's versions do more than tell a tale: 'Having seen a problem solved,' she writes, each one leaves 'a pattern of order in the mind.'Bringing together past, present and future in our ninetieth year, Faber Stories is a celebratory compendium of collectable work.

A reissue of the 1935 Selected Poems, which, with an Introduction by T. S. Eliot, brought Moore's work to the attention of a wider public. This beautifully designed edition forms part of a series of ten key titles celebrating Faber's publishing over the decades.

Marianne Moore's Observations stands with T. S. Eliot's The Waste Land, Ezra Pound's early Cantos, and Wallace Stevens's Harmonium as a landmark of modern poetry. But to the chagrin of many admirers, Moore eliminated a third of its contents from her subsequent poetry collections while radically revising some of the poems she retained. This groundbreaking book has been unavailable to the general reader since its original publication in the 1920s. Presented with a new introduction by Linda Leavell, the author of the award-winning biography Holding On Upside Down: The Life and Work of Marianne Moore, this reissue of Observations at last allows readers to experience the untamed force of Moore's most dazzling innovations. Her fellow modernists were thrilled by her originality, her "clear, flawless" language--to them she was "a rafter holding up . . . our uncompleted building." Equally forceful for subsequent generations, Observations was an "eye-opener" to the young Elizabeth Bishop, its poems "miracles of language and construction." John Ashbery has called "An Octopus" the finest poem of "our greatest modern poet." Moore's heroic open-mindedness and prescient views on multiculturalism, biodiversity, and individual liberty make her work uniquely suited to our times. Impeccably precise yet playfully elusive, emotionally complex but stripped of all sentiment, the poems in Observations show us one of America's greatest poets at the height of her powers.

Throughout her lifetime, Marianne Moore was an avid editor of her own verse. The bulk of her poems appear in numerous, at times vastly different published versions. For Moore, no text was ever stable or finished; each opportunity to publish offered an opportunity to revise. "Becoming Marianne Moore" gives scholars and readers access to the multiple variant versions of Moore's poems published between 1907 and 1924. An innovative, deeply contextualized facsimile edition of the poet's published early verse, it brilliantly demonstrates that modernist textuality is not a fixed, static product but an ongoing, fluid process. "Becoming Marianne Moore" offers readers a full facsimile reprint of the first edition of "Observations" (1924), the book that garnered Moore the Dial Award for Literature and solidified her reputation as a modernist poet of note. The reprint is followed by a collection of facsimiles that presents each of Moore's poems published between 1907 and 1924 as it first appeared in a modernist little magazine. Each facsimile is accompanied by a variorum table that gives scholars quick access to all of the published changes that Moore made to each poem and a series of brief bibliographical notes that supply information about the immediate publication contexts of all of the presentations of the poem. 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. A wonderful fusion of historical research and critical sensitivity, "Becoming Marianne Moore" will change the way people think about Moore's verse and modernist textuality in general. A powerful intervention into Moore studies, it gives readers a broader sense of the poet's complex and brilliant career.

"Teems with sharp observation, profound moral insight, high satiric wit, and all manner of aesthetic delight." -The New York Times Book Review A Penguin Classic This definitive edition brings together all the works that Pulitzer Prize-winning Marianne Moore wished to preserve, covering more than sixty years of writing, and incorporating the final revisions she made to the texts. The poems demonstrate Moore's wide range of interests, moving from witty images of animals, sporting events, and social institutions, to thoughtful meditations on human nature. In entertaining informative notes, Moore reveals the inspiration for complete poems and individual lines within them. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.