An essay by faculty member James Longenbach appears at The Nation:
Less is Moore
Observations is one of the great verbal works of art of the 20th century, in part because of Marianne Moore’s infectious devotion to everything small.
On February 29, 1988, John Ashbery gave a poetry reading at the Folger Shakespeare Library in Washington, DC. The room was packed. Coincidentally, the Folger had mounted “Marianne Moore: Vision Into Verse,” an exhibition including an array of clippings and photographs that Moore includes in her poems—most prominently in “An Octopus,” the longest poem in her 1924 volume Observations. Speaking from the podium, Ashbery called “An Octopus” the most important poem of the 20th century; and while the remark provoked a few titters, he was reiterating a conviction that was neither novel nor idiosyncratic. “Despite the obvious grandeur of her chief competitors,” he’d written two decades earlier, in a 1967 review of Moore’s Complete Poems, “I am tempted simply to call her our greatest modern poet.”
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