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Cambridge, Mass.: Harvard University Press, 1981. Engel, Bernard F. Marianne Moore. Rev. ed., Boston:

Twayne, 1989. Heuving, Jeanne. Omissions Are Not Accidents: Gender in the Art of Marianne Moore. Detroit: Wayne State University Press, 1992. Kenner, Hugh. "Disliking It." In A Homemade World: The American Modernist Writers. Baltimore, Md.: Johns Hopkins University Press, 1975. Molesworth, Charles. Marianne Moore: A Literary Life. New York: Macmillan, 1990.

Michael Barsanti

MORA, PAT (1942- ) Pat Mora has been a significant southwestern voice in American literature since the 1980s. Also an essayist, memoirist, and author of children's books, Mora as a poet is interested in the organic poetic line and formal/linguistic play, and she has been influenced by Pablo Neruda, Federico Garcia Lorca, Lucille clifton, and Mary OLIVER. Mora's poetry conveys transcendental themes through tightly crafted imagery often rooted in the southwestern desert landscape and its inhabitants. A bilingual, bicultural feminist from a city where the Rio Grande marks the U.S.-Mexico border, Mora ponders rivers and borders, both literal and metaphorical, and her free verse is infused with Spanish words and phrases (see prosody and free verse).

Mora was born and raised in El Paso, Texas. In 1985 and 1987 she was honored with the Southwest Book Award for two collections of poems, Chants and Borders, respectively. In 1986 she received a Kellogg National Leadership Fellowship to study ways of preserving culture (a recurrent theme of her poetry), and in 1994 she received a National Endowment for the Arts Creative Writing Fellowship in poetry. Two of her books of poetry for children have also received awards.

Women are central to Mora's work, and they are portrayed in complex detail, whether they are like "Elena" (1984), an immigrant who tenaciously struggles to learn English ("for if I stop trying, I will be deaf / when my children need my help"), or like Carmen, the feisty octogenarian sacristan of Aunt Carmen's Book of Practical saints (1997), whose prayer to the Good Shepherdess implores, "Madre Mia, teach your cranky Carmen the practicality / of beauty, its joyful mystery necessary as bread." Voice—be it raised or silenced, of landscape or of people, in Spanish or in English or both—is a dominant motif for Mora, leading to close attention to sound imagery and suggesting how important listening is to knowledge. Imagining the stories inherent in the poetry of nature and the nature of poetry, Mora is like the storyteller in "Cuentista" (1995): "She carries a green river / in her arms, a rolling play of light."

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