By Joanne Feit Diehl
This hugely leading edge paintings on poetic impact between girls writers makes a speciality of the connection among modernist poet Elizabeth Bishop and her mentor Marianne Moore. Departing from Freudian versions of impression idea that forget about the query of maternal presence, Joanne Diehl applies the psychoanalytic insights of item kinfolk theorists Melanie Klein and Christopher Bollas to woman-to- girl literary transactions. She lays the basis for a far-reaching serious process as she exhibits that Bishop, mourning her separation from her typical mom, strives to stability gratitude towards Moore, her literary mom, with a in all probability disabling envy. Diehl starts via exploring Bishop's memoir of Moore, "Efforts of Affection," as an try by means of Bishop to ensure Moore's forte with a view to shield herself opposed to her predecessor's virtually overwhelming originality. She then bargains an intertextual interpreting of the 2 writers' works that inquires into Bishop's ambivalence towards Moore. In an research of "Crusoe in England" and "In the Village," Diehl exposes the restorative impulses that gas aesthetic production and investigates how Bishop thematizes an figuring out of literary creation as a strategy of psychic repayment.
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Additional resources for Elizabeth Bishop and Marianne Moore
I believe she was the only person I have ever known who “bridled” at praise, while turning pink with pleasure. These gestures of her head were more pronounced in the presence of gentlemen because Marianne was innately flirtatious. (134) To bridle at praise while turning pink with pleasure is to enact the conflictual feelings associated with rendering oneself vulnerable to another’s opinion, and the consequence of such a response is to convert that “other” into an “audience” (134). Similarly, and on a grander scale, the exchange of gifts becomes an activity fraught with difficulty for the giver, again apparently because of the implicit, unstated standards that Moore revealed only after the gift itself had been received.
In Moore’s poem, the paper nautilus is an object too precious For authorities whose hopes are shaped by mercenaries? Writers entrapped by teatime fame and by commuters’ comforts? . 10 27 CHAPTER ONE The gift is self-made, constructed by the sea-creature for her eggs, which free her from confinement only when they themselves are freed. Thus, Moore’s poem engages issues of gift-exchange and the interdependence of the maternal and her offspring. Yet this reciprocity is fraught with difficulty, as well as the need to guard what cannot easily be spared.
A sense of trespass accompanies Bishop’s transcriptions of these details of domestic life even as one is charmed by them. “Several times over the years Marianne asked me abruptly, ‘Elizabeth what do you have on under your dress? ’ ” Moore’s question, in its explicitly practical and curiously straightforward unself-consciousness, denies all hints at prurience, and the contrast between Bishop’s enumeration of her “two or perhaps three undergarments,” and Moore’s mani24 “EFFORTS OF AFFECTION” fold layers again suggests the difference between the antiquated Moore and the modern, stripped-down Bishop (133).