![\"Habitaci\u00f3n](\"https:\/\/poeticas.es\/wp-content\/uploads\/2009\/03\/mariannemoore.jpg\" "\\"Habitaci\u00f3n")
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La poes\u00eda de Marianne Moore (Estados Unidos, 1887-1972) destaca por la multiplicidad de voces, la b\u00fasqueda de lo aut\u00e9ntico en lo concreto y el rigor expresivo.<\/em><\/p>\n LA POES\u00cdA<\/strong><\/p>\n A m\u00ed tampoco me gusta. Poemas escogidos<\/em>, 1935. Traducci\u00f3n de Lidia Taillefer de Haya.<\/p>\n <\/p>\n POETRY<\/strong><\/span><\/p>\n I, too, dislike it. Selected poems<\/span><\/em>, 1935.<\/span><\/p>\n POETRY<\/strong><\/span><\/p>\n I, too, dislike it: there are things that are important beyond high-sounding interpretation can be put upon them but because eat, elephants pushing, a wild horse taking a roll, a tireless school-books\u201d; all these phenomena are important. One must make for inspection, \u201cimaginary gardens with real toads in them,\u201d (1921, primera versi\u00f3n extendida, en ingl\u00e9s)<\/p>\n","protected":false},"excerpt":{"rendered":" La poes\u00eda de Marianne Moore (Estados Unidos, 1887-1972) destaca por la multiplicidad de voces, la b\u00fasqueda de lo aut\u00e9ntico en lo concreto y el rigor expresivo. LA POES\u00cdA A m\u00ed tampoco me gusta. Pero, al leerla con absoluto desprecio, descubrimos en ella, al fin y al cabo, sitio para lo aut\u00e9ntico. Poemas escogidos, 1935. Traducci\u00f3n… <\/p>\n
\nPero, al leerla con absoluto desprecio, descubrimos en
\nella, al fin y al cabo, sitio para lo aut\u00e9ntico.<\/p>\n
\nReading it, however, with a perfect contempt for it; one discovers in
\nit, alter all, a place for the genuine.<\/span><\/p>\n
\nall this fiddle.
\n<\/span>Reading it, however, with a perfect contempt for it, one
\ndiscovers in
\nit after all, a place for the genuine.
\nHands that can grasp, eyes
\nthat can dilate, hair that can rise
\nif it must, these things are important not because a<\/span><\/p>\n
\nthey are
\nuseful. When they become so derivative as to become
\nunintelligible,
\nthe same thing may be said for all of us, that we
\ndo not admire what
\nwe cannot understand: the bat
\nholding on upside down or in quest of something to<\/span><\/p>\n
\nwolf under
\na tree, the immovable critic twitching his skin like a horse
\nthat feels a flea, the base-
\nball fan, the statistician \u2013
\nnor is it valid
\nto discriminate against \u201cbusiness documents and<\/span><\/p>\n
\na distinction
\nhowever: when dragged into prominence by half poets, the
\nresult is not poetry,
\nnor till the poets among us can be
\n\u201cliteralists of
\nthe imagination\u201d \u2014 above
\ninsolence and triviality and can present<\/span><\/p>\n
\nshall we have
\nit. In the meantime, if you demand on the one hand,
\nthe raw material of poetry in
\nall its rawness and
\nthat which is on the other hand
\ngenuine, you are interested in poetry.<\/span><\/p>\n