MOORE, Marianne. A collection of 50 typed letters signed ("Marianne Moore"), 4 autograph letters signed and 4 typed postcards signed, 1947-1968, to William Cole of Alfred A. Knopf (1 ALS, 25 TLsS) and William Targ of G.P. Putnam's Sons (3 ALsS, 25 TLsS and 4 TCsS); with three additional typed letters signed to Arthur A. Cohen, Philip Wittenberg and Susan Gold. Together approximately 60 pages, various 12mo to 4to sizes, many on Moore's letterhead with address, black quarter morocco slipcase . A LARGE AND IMPORTANT CORRESPONDENCE FROM MOORE TO HER PUBLISHERS The nearly 60 letters contained in the present archive record a long and productive arc in Moore's career as a major published poet, and reveal not only her thoughts on her own publications but those of her contemporaries. Many of the letters to Targ thank him for books sent for her reading, review and commentary, and she is at one point forced to admit that "I have much in my library to thank you for" (n.d.). Her tone with Targ is convivial and breezy, but to Cole she offers deeper insights into her perceptions of writing and self. To Cole she writes of Conrad Aiken that he is "unsuperficial and unintimidated, he surely stands re-examination-repelled by idolatry and the confused mind" (11/23/58), and of Ted Berrigan she exclaims "I read with reverence anything that Father Berrigan writes." " Go Tell it on the Mountain by James Baldwin is an unusual book, I see; really is, and when I have read it and pondered it I shall write you again" (2/13/53). And within her comments on other poets are found windows into her own work: "Much as I value this collection Encounters [by Berrigan] I feel the need of even greater urgency in some pages-of verse stripped and stark. It is by constancy-intensity, say-that we expand; but one cannot always be at a peak and there is nothing to discourage us in that fact, is there? Spare at best, I am, myself, always 'failing.' And a subdued, philosophical view of production is my salvation, I suspect" (11/8/59). When William Cole sends her a copy of a photograph to approve, she responds that "I am delighted to have it, and it suggests to me also, that I might ask official photographers (if such wish a likeness of me) not to take a profile of me. The responsibility for my appearance is my own and your reprieve is very much valued" (3/25/51). Her modesty is also in evidence when she writes of her winning the National Book Award: "[I express] my gratitude for the medal presented to me... which I treasure as a symbol of fraternal liberality and look upon as an auspice of trustful interest in poetry, on the part of the public" (2/1/52); her following letter forwards a typescript draft of her acceptance speech with Cole's pencilled suggestions. COLLECTIONS OF MOORE'S LETTERS ARE SCARCE, especially to close literary associates and with such revealing content.
MOORE, Marianne. A collection of 50 typed letters signed ("Marianne Moore"), 4 autograph letters signed and 4 typed postcards signed, 1947-1968, to William Cole of Alfred A. Knopf (1 ALS, 25 TLsS) and William Targ of G.P. Putnam's Sons (3 ALsS, 25 TLsS and 4 TCsS); with three additional typed letters signed to Arthur A. Cohen, Philip Wittenberg and Susan Gold. Together approximately 60 pages, various 12mo to 4to sizes, many on Moore's letterhead with address, black quarter morocco slipcase . A LARGE AND IMPORTANT CORRESPONDENCE FROM MOORE TO HER PUBLISHERS The nearly 60 letters contained in the present archive record a long and productive arc in Moore's career as a major published poet, and reveal not only her thoughts on her own publications but those of her contemporaries. Many of the letters to Targ thank him for books sent for her reading, review and commentary, and she is at one point forced to admit that "I have much in my library to thank you for" (n.d.). Her tone with Targ is convivial and breezy, but to Cole she offers deeper insights into her perceptions of writing and self. To Cole she writes of Conrad Aiken that he is "unsuperficial and unintimidated, he surely stands re-examination-repelled by idolatry and the confused mind" (11/23/58), and of Ted Berrigan she exclaims "I read with reverence anything that Father Berrigan writes." " Go Tell it on the Mountain by James Baldwin is an unusual book, I see; really is, and when I have read it and pondered it I shall write you again" (2/13/53). And within her comments on other poets are found windows into her own work: "Much as I value this collection Encounters [by Berrigan] I feel the need of even greater urgency in some pages-of verse stripped and stark. It is by constancy-intensity, say-that we expand; but one cannot always be at a peak and there is nothing to discourage us in that fact, is there? Spare at best, I am, myself, always 'failing.' And a subdued, philosophical view of production is my salvation, I suspect" (11/8/59). When William Cole sends her a copy of a photograph to approve, she responds that "I am delighted to have it, and it suggests to me also, that I might ask official photographers (if such wish a likeness of me) not to take a profile of me. The responsibility for my appearance is my own and your reprieve is very much valued" (3/25/51). Her modesty is also in evidence when she writes of her winning the National Book Award: "[I express] my gratitude for the medal presented to me... which I treasure as a symbol of fraternal liberality and look upon as an auspice of trustful interest in poetry, on the part of the public" (2/1/52); her following letter forwards a typescript draft of her acceptance speech with Cole's pencilled suggestions. COLLECTIONS OF MOORE'S LETTERS ARE SCARCE, especially to close literary associates and with such revealing content.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
