This is the image of a child, also named Marianne Moore, with delicious, prodigious locks. It reveals maybe a little bit of the power and extravagance and glory that you feel in her poems but that she preferred always to restrain and bind and control in extraordinary ways, and not always to hide. Moore, who revised her poems, just the same way she ended up binding her hair, republished this poem eventually in short form, very short, where three pages were reduced to two sentences.

The first two sentences you see:. Reading it, however, with a perfect contempt for it, one discovers in it after all, a place for the genuine. Some of what she cut out of the poem, cut out of its later version, is a list of what she had in mind as the genuine, as examples of it, which is the first quotation there; again, on your handout:.

All these are new, modern subjects. Because they represent dimensions of experience formerly excluded from the elevated, idealized discourse that is poetry, dimensions of experience excluded as prosaic.

But she goes further than Tolstoy in her commitment to the seemingly non-poetic. Moore exemplifies in this way a key aspect of modern poetry — its radical heterogeneity, its will to mix many kinds of materials and discourses, to make poetry reach out from the rarified and limited domain of the poetic to keep including more and more of the world. The next quotation on your handout — this is another example of this. They thrust together different texts, different languages, writing from different historical periods, all there, compressed in that remarkable mad song that concludes the poem.

You will probably too. According to Eliot, the modern world lacks a center, a kind of set of collective beliefs and commitments that would enable communication between us. Modernity for Eliot, as for Moore, as for Pound, is marked by a profusion of languages, both national languages such as French or Russian, which turn up in The Waste Land ; also, a bewildering array of specialized types of discourse, technical genres, varieties of speech, business documents and school books.

Behind this environment are the great social processes of migration and modernization that produced that new urban form, the metropolis.

All of the poets we read, even that New England hayseed, Robert Frost, begin their careers in metropolitan centers, primarily in London and New York. The metropolis is the center of this unsettled world that Marx describes. Life in the modern metropolis was de-familiarizing. It de-naturalized language. Modern American writers and artists immigrated famously to London, to Paris.

Another key event in the making of modernism is the great migration of African-Americans from the rural south to the urban north. Metropolis is, in modern poetry, set against a backdrop of war and violence and conflict, and modern poetry, as it absorbs the world of the metropolis, absorbs that violence and energy as well. The metropolis which uproots people, takes them away, takes them out of traditional cultures, also uproots traditional religious belief and practices.

Modernity is, in his work, a condition of social and psychological fragmentation which is both a private, personal dilemma and a public one, as he understands it. This is a photograph by Alfred Stieglitz, City of Ambition.

This is the modern city, not as a scene of fragmentation or despair, but rather a place of ascent and aspiration. You recognize it. And here is another, another image by Evans of the bridge. All the World's a Stage Exit Through the Camera Eye Chronicles Book Category. Categories : greatest hits albums video albums Music video compilation albums Rush band compilation albums Mercury Records compilation albums Mercury Records video albums. MP3 Download, 8 Dec "Please retry".

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