Of all the great American Modernists, the poetry of Marianne Moore is perhaps the most idiosyncratic, even the most radical, of them all—no small feat in a group of friends and admirers that included Ezra Pound, T. S. Eliot, Wallace Stevens, William Carlos Williams, e. e. cummings, and HD. Moore’s preferred form was a syllabic stanza bespoke to each poetic occasion, like the unique shell of each individual snail or paper nautilus, and often containing rhyme. In these stanzas, Moore hid behind her virtuosic performance of deflection and difficulty and, of course, revealed herself in it, much as one of her pet-subjects, the exotic animal-portrait, contained a self-portrait at its heart. In her poem on the jerboa, Moore contrasts the desert mouse’s decorousness with the decadence of empire, and in so doing, distinguishes her ideal of true artistry—a vigorous, humble, and ultimately liberated response to one’s natural and formal limitations—with a false art which oppresses the natural in service of the powerful. Wes & Erin discuss Marianne Moore’s poem, “The Jerboa,” first published in 1932, and whether power and wealth might paradoxically prove less abundant than the strictures of form and necessity.

Upcoming Episodes: M*A*S*H, Rilke, Dickinson.

Pre-order Erin’s forthcoming book “Avail” here: http://subtextpodcast.com/avail

For bonus content, become a paid subscriber at Patreon or directly on the Apple Podcasts app. Patreon subscribers also get early access to ad-free regular episodes.

This podcast is part of the Airwave Media podcast network. Visit AirwaveMedia.com to listen and subscribe to other Airwave shows like Good Job, Brain and Big Picture Science.

Email [email protected] to enquire about advertising on the podcast.

Follow: Twitter | Facebook | Website