“Cut Prose”? The Sentence and the Line in Marianne Moore’s Poetry
This article seeks to examine Marianne Moore’s line breaks and the formal tensions they reveal or even create between the grammatical sentence and the poetical line. While the poet is commonly associated with the most radical and idiosyncratic verse patterns, from her earliest modernist experiments...
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| Format: | Article |
| Language: | English |
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Association Française d'Etudes Américaines
2021-07-01
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| Series: | Transatlantica |
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| Online Access: | https://journals.openedition.org/transatlantica/16994 |
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| author | Aurore Clavier |
| author_facet | Aurore Clavier |
| author_sort | Aurore Clavier |
| collection | DOAJ |
| description | This article seeks to examine Marianne Moore’s line breaks and the formal tensions they reveal or even create between the grammatical sentence and the poetical line. While the poet is commonly associated with the most radical and idiosyncratic verse patterns, from her earliest modernist experiments to her signature use of syllabic verse, her work is also marked by a less conspicuous, but equally thorough pull toward the continuity of prose, a genre she was consistently drawn to. Lending an ear and an eye to intervals opened up by these crossings leads to a refined assessment of the generic ambiguities of Moore’s writing. |
| format | Article |
| id | doaj-art-8f995f6fb0d742278df814fd9d68e180 |
| institution | Kabale University |
| issn | 1765-2766 |
| language | English |
| publishDate | 2021-07-01 |
| publisher | Association Française d'Etudes Américaines |
| record_format | Article |
| series | Transatlantica |
| spelling | doaj-art-8f995f6fb0d742278df814fd9d68e1802025-01-30T10:43:37ZengAssociation Française d'Etudes AméricainesTransatlantica1765-27662021-07-01110.4000/transatlantica.16994“Cut Prose”? The Sentence and the Line in Marianne Moore’s PoetryAurore ClavierThis article seeks to examine Marianne Moore’s line breaks and the formal tensions they reveal or even create between the grammatical sentence and the poetical line. While the poet is commonly associated with the most radical and idiosyncratic verse patterns, from her earliest modernist experiments to her signature use of syllabic verse, her work is also marked by a less conspicuous, but equally thorough pull toward the continuity of prose, a genre she was consistently drawn to. Lending an ear and an eye to intervals opened up by these crossings leads to a refined assessment of the generic ambiguities of Moore’s writing.https://journals.openedition.org/transatlantica/16994genrepoetryproseMarianne Moore (1887-1972)Modernism |
| spellingShingle | Aurore Clavier “Cut Prose”? The Sentence and the Line in Marianne Moore’s Poetry Transatlantica genre poetry prose Marianne Moore (1887-1972) Modernism |
| title | “Cut Prose”? The Sentence and the Line in Marianne Moore’s Poetry |
| title_full | “Cut Prose”? The Sentence and the Line in Marianne Moore’s Poetry |
| title_fullStr | “Cut Prose”? The Sentence and the Line in Marianne Moore’s Poetry |
| title_full_unstemmed | “Cut Prose”? The Sentence and the Line in Marianne Moore’s Poetry |
| title_short | “Cut Prose”? The Sentence and the Line in Marianne Moore’s Poetry |
| title_sort | cut prose the sentence and the line in marianne moore s poetry |
| topic | genre poetry prose Marianne Moore (1887-1972) Modernism |
| url | https://journals.openedition.org/transatlantica/16994 |
| work_keys_str_mv | AT auroreclavier cutprosethesentenceandthelineinmariannemoorespoetry |