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Cecil Beaton
Marianne Moore with her mother, Mary Warner Moore, at home, 260 Cumberland Street, Brooklyn
Monroe Wheeler Papers



At The Dial, Moore developed a reputation as an exacting editor who often requested revisions and omissions from even the most accomplished writers—including Gertrude Stein, Hart Crane, and Archibald MacLeish. In the years Moore acted as editor, The Dial published some of the most significant poems of the century, including Hart Crane’s “To Brooklyn Bridge,” and segments from William Carlos Williams’ Patterson and Ezra Pound’s Cantos. Her contribution as an editor, however, is second to that of her own writing; Moore is commonly considered to be one of the most inventive poets of her time. In his introduction to her Selected Poems (1935), T. S. Eliot states, “Miss Moore’s poems form part of the small body of durable poetry written in our time.”1 Of her work, H. D. wrote: “Miss Moore turns her perfect craft as the perfect craftsman must inevitably do, to some direct presentation of beauty, clear, cut in flowing lines, but so delicately that the very screen she carves seems meant to stand only in that serene palace of her own world of inspiration—frail, yet as all beautiful things are, absolutely hard—and destined to endure longer, far longer than the toppling skyscrapers, and the world of shrapnel and machine-guns in which we live.”2

1 T. S. Eliot, Introduction to Selected Poems by Marianne Moore, London: Faber, 1935, p. 12.
2 H.D. (Hilda Doolittle) “Marianne Moore,” The Egoist 3 (1916): 118-19.



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