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Diepreveen, Leonard. Changing Voices: The Modern Quoting Poem. Ann Arbor, MI: U of Michigan Press, 1993.
From the perspective of a scholar of twentieth-century American poetry, Diepreveen sees his project as an intervention in a discourse of "citationality" that he believes has come to stand in for any type of intertextuality, whether allusion, quotation, or formal citation. Allusion and quotation are too different to be considered under the same concept, given how indirect an allusion may be and still qualify as an illusion. Though he grants that the assumption of appropriated materials characterizes a great deal of formally innovative twentieth-century art, he restricts the scope of his study to poetry. He aims, through practical criticism, to consider the impact that quotation has on features specific to poetry, such as stanzaic form, lineation, and metrics. Unlike Gregory, Diepreveen argues that "quoting poems" are quintessentially American, "coming partly from preoccupations with antecedents (Eliot and Pound) and with authenticity (Moore, Cummings, Eliot, and Pound)."
Studying American modernist quoting poems illuminates other concepts crucial to modernism, like fragmentation, difficulty, and impersonality. Diepreveen also looks at quotation as a destabilization of lyric voice that leads to the strands of postmodern art experimenting with ideas of dispersed subjectivity. He argues, against Gregory, that quotations inevitably distort the subject of a poem, adducing the way that quotations continually redefine the subject of "The Octopus," Mt. Rainier. He also reads Moore's famous statement about "Marriage" as an indicator that the poem falls under another genre, that of the anthology. Anthologies pay for licenses, while Diepreveen claims that the modernists were content to steal, quoting Moore that a "good stealer is ipso facto a good inventor." Does copyright law leave room for theft that will "make it [poetry] new," to quote Pound? Is modernism criminal? Are the supposed effects that quotations have on poems the traces of this criminality?
tagged citationality lyric marianne_moore modernism poetics quotation by fedors ...on 09-APR-09
Gregory, Janice. Quotation and Modern American Poetry: "Imaginary Gardens with Real Toads." Houston, TX: Rice UP, 1996.
Gregory's study compares the poetics of quotation in T.S. Eliot, William Carlos Williams, and Marianne Moore. Quotation, she argues, either draws on the authority of what a writer quotes or parodies that same authority. She identifies four pre-Modernist conceptions of the function of quotation, each allied with a different epoch: Christian antiquity and the medieval, Renaissance, and Romantic periods. Apostolic and Pauline texts quote Jesus and the Old Testament to invoke the awe of revelation, the binding force of law, and to establish their own authority. Medieval writers invoke the same authority from non-Christian authors, especially Aristotle. The Renaissance, through figures like Erasmus and Cervantes, instigates the double character of quotation, useful for authorization and parody. The Romantic period witnesses the rise of a discourse of originality that created immense anxiety in poets like Coleridge and Wordsworth over their belatedness in relation to great poets like Milton. Their rare instances of quotation are in the service of transferring authority to modern, secular forces. Setting this anxiety in an American context, Emerson insists in the 1830s that originality and quotation are not mutually exclusive, thus setting the stage for poetry that acknowledges a great debt to tradition but nevertheless seeks to establish an original relation to the universe.
Gregory argues that Eliot, Williams, and Moore all employ quotation to explore the way authority is gendered, particularly with reference to America's belatedness in secular history. Borrowing on the work of Marie Borroff, Gregory demonstrates how Moore's inclusion of "promotional prose" and the text from park monuments, intimate conversations, volumes of natural history, and other non-canonical language alongside quotations from Yeats and allusions to Browning throws into question the hierarchies on which the authority of quotation rests. These "unauthoritative" texts enter the realm of literature for multiple purposes, among them revaluation, modest depersonalization, and the establishment maternal authority. Gregory also suggests that Moore's practice of quotation influenced T.S. Eliot, not the other way around, by convincing him that he could fashion poetry "out of a refusal to digest the fragments of the texts that inspired it." Gregory allows me to argue that Moore's practice of quotation serves several of the analogous functions that sampling serves in music, and subsequently that there might be a causal relationship between Moore's nationality and the views she held on quotation.
tagged authority intellectual_property modernism originality poetics quotation sampling by fedors ...on 09-APR-09
Friedlander, Benjamin. "Marianne Moore Today." Critics and Poets on Marianne Moore: "A Right Good
Salvo of Barks." Ed. Leavell, Linda, Miller, Cristanne, and Robin G. Schulze. Bucknell, PA: Bucknell UP, 2005.
222-39.
Friedlander solicited commentaries on the significance of Marianne Moore from contemporary avant-garde poets, with the intention of gauging exposure and tracing lines of influence. Interspersed are his comments on the vagaries of Moore's reception, and an inchoate argument that Moore's poetry should be a lot more important to contemporary poets than it is. Rachel Blau Duplessis calls her "a precursor without acknowledged followers," and then claims a mild affinity for the "collage textures of poetry and discursive slides" that also appear in Pound, Eliot, and Williams, but which Moore employed to feminist ends. Jena Osman looks behind the texture of the poetry to Moore's compositional practice, admiring "her use of footnotes/citations, her delight in and recycling of newspaper items, and her ‘research-based' writing strategies," and most of all Moore's practice of inserting clippings into books dialogically, which Osman calls "material hypertext."
Friedlander ultimately suggests two conclusions: first, an unfair prejudice against Moore results from the popular, genteel persona she cultivated in her later years, the period when most contemporary poets came of age; second, the texture of contemporary poetry and its practice of laying bare the mediation of truth comport with Moore aesthetically and philosophically to a greater degree than with her peers. The significance of this discussion for my project is that contemporary poets who admire Moore admire the way she samples from non-literary texts. Arguably, then, one of the most productive aspects of Moore's poetry in the present moment intersects with one of the most discussed concepts in intellectual property law, sampling.
tagged avant-garde intellectual_property modernism poetics reception_history by fedors ...on 09-APR-09