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Modernist Revolutions: American Poetry and the Paradigm of the New

(Women Writing) The Modernist Line

Cristanne Miller

Abstracts

Of the five English-language poets who experimented most radically with the poetic line in the 1910s, four were women: Mina Loy, H.D., Marianne Moore, and to a lesser extent Gertrude Stein, since she rejected the poetic line altogether in Tender Buttons. The crucial moves away from Whitman’s nineteenth-century aesthetic had to do with the line as seen, as independent of syntax and meter, as restructuring the possibilities of rhyme, and as a unit in tension with other aspects of form, narrative, and voice in a poem. In the hands of these women, the modernist line had appeared in almost every radical configuration of high modernism by the end of 1917. This paper explores the particular innovations of these women in relation to the structures of the modernist poetic line.

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  • 1 My thanks to the participants in the “Modernist Revolutions” conference for questions and presentat (...)

1In his “Revolution of the Word” manifesto (Transition, 1929), Eugene Jolas writes that “the literary creator […] HAS THE RIGHT TO USE WORDS OF HIS OWN FASHIONING AND TO DISREGARD EXISTING GRAMMATICAL AND SYNTACTICAL LAWS.”1 Jolas does not mention any aspect of poetic structure or “laws” as part of his revolution—perhaps because by 1929 free verse was so dominantly the poetic mode. One structural aspect, however, distinguished the modernist revolution in poetry from earlier free verse—namely the line. Of the five English-language poets who experimented most radically with the poetic line in the 1910s, four were women: Mina Loy, H.D., Marianne Moore, and Gertrude Stein. The crucial moves away from Whitman’s nineteenth-century aesthetic had to do with the line as seen, as independent of syntax and meter, as restructuring the possibilities of rhyme, and as a unit in tension with other aspects of form, narrative, and voice in a poem. In the hands of these women, by the end of 1917 the modernist line had appeared in almost every radical configuration it would reach throughout the period of high modernism.

  • 2 Williams defines his “variable foot” in his “Interview with Stanley Koehler.” It in effect makes ea (...)
  • 3 To give just one example, Mallarmé uses a tripartite line in L’Après-midi d’un Faune (1876):

2Pound is the fifth of these innovators, and while his work undoubtedly had an impact on these women, their innovations also influenced his Cantos (first published in Poetry in 1917) and they certainly influenced William Carlos Williams’s visually disjointed and later “triadic” line.2 In his multiple books published before 1916, Pound wrote a variety of kinds of lines but most of his lines were phrasally determined; he sometimes indented words or phrases but typically maintained both minor phrase boundaries and stanzaic or flush-left line groups. T. S. Eliot and Wallace Stevens never left the phrasal line behind, and e.e. cummings first published his radically vertical verse in 1920. Of primary interest here is not who first used any particular line structure. Were that the case, one could say that the modernists invented nothing: prose poetry, free verse, and concrete poetry or other verse forms using the visual space of the page can all be found well before the turn of the twentieth century. Instead, I am interested in the work of poets who developed particular uses of the line in primary ways as an aspect of their attempt to write a poetry appropriate to the new century such that these formal elements could not be ignored or overlooked by others engaged in similar experiments with meaning and form.3

  • 4 Moore published reviews of most major poets and publications in the 1910s and several essays with i (...)

3Loy, H.D., Stein, and Moore redefine the line by altering its length, relation to syntax and pauses, and its visual form. The fact that women are primarily responsible for initial reconceptions of the modernist poetic line is rarely noticed, however—perhaps because they did not publish manifestos that touted their own contributions to modernism, instead focusing their essays on other issues or on modernist poetry generally. While Pound wrote multiple essays extolling the do’s and don’ts of modernist verse, and Williams described his variable foot as his “solution of the problem of modern verse” (Williams in Berry), Loy, H.D., Moore, and Stein wrote mostly obliquely about their formal verse structures. Loy’s most important polemical essays, for example, are on Futurism, Psycho-Democracy, and Feminism, and Moore’s most important essays are on rhyme and gusto in other writing, or on other writers.4 At the beginning of their poetic careers, however, these women in fact “solved” one of the “problem[s] of modern verse” by creating signature forms for the articulation of their ideas. And because (as we know—and as Rachel Blau DuPlessis has argued) form does not occur in a vacuum (DuPlessis, 2001), in talking about the line I will talk at least briefly about the social, historical, and political terrain engaged by these women’s reconception of this element of form. A line is a unit of verse but also of general communication—structurally and rhetorically crafted. In common parlance, a “line” is often mistrusted: “What’s his line?” we ask, “Don’t feed me a line,” we warn. Or a line can be a kind of signature or by-line. In these women’s verse the modernist “line” is redefined both as structure and perspective.

  • 5 See Miller, Cultures of Modernism (2005) and “Marianne Moore and the Women Modernizing New York” (2 (...)

4These variations in the conception and form or the poetic line are not gender-dependent or gender-oriented. At the same time, it is unlikely to be a matter of accident that most of the individuals responsible for repeated experimental and developmental use of new forms of the poetic line written in English are women. As I have argued elsewhere, in the U.S. more than anywhere else in the world, women took leadership roles in shaping the development and circulation of modernism across the spectrum of the arts in the 1910s and 1920s. They were editors, museum founders, and organizers of groups or loosely conceived communities.5 The women engaged in such leadership were well educated, ambitious, and enjoyed sufficient independence financially and in relation to familial responsibilities to afford at least periodic sustained focus on their art (although this independence was more precarious and harder won for some than for others). Moreover, these women may have felt weaker ties to traditional institutions and forms than their male contemporaries because they for the most part stood outside those institutions. The focus of this essay, however, is not on the question of gender in relation to the development of the modernist line; nor is it on who or what influenced Loy, H.D., Stein, or Moore’s experimentation. I focus on the particularities of these women’s innovative, and typically overlooked, contributions to the development of Anglo-American modernism and ways that their deployment of a new poetic line was compatible with larger (often feminist) goals of their poetics.

Loy’s         Line

5Although H.D. is the earliest of these writers, Mina Loy approaches the question of the line with the greatest variety of placement on the physical page, perhaps not surprisingly given that she both began and ended her career with serious work in the visual arts. For that reason, this essay begins with Loy’s line.

6Mina Loy’s most famous (or infamous) lines are those beginning “Songs to Joannes,” the first four sections of which were published as “Love Songs” in 1915:

Spawn of Fantasies
Silting the appraisable
Pig Cupid     his rosy    snout
Rooting erotic garbage
“Once upon a time”
Pulls a weed      white star-topped
Among wild oats sown in mucous-membrane (1996, 53)

7While most attention has focused on Loy’s shockingly comic representation of male participation in intercourse as a pig-like penis “rooting erotic garbage,” it is equally significant that by 1915 her widening of the line to include white space between words was already a recognizable feature of her verse. Pound uses this technique (to my knowledge) only once, in “In a Station of the Metro” as published in Poetry in 1913:

The apparition      of these faces      in the crowd    :
Petals      on a wet, black     bough    .

8In contrast, this was a repeated aspect of Loy’s verse and hence one she brought insistently to the attention of other modernists.

9Loy writes in “Modern Poetry” that “the structure of all poetry is the movement that an active individuality makes in expressing itself” (1996, 157). Loy’s lines “move” individualistically; they are characteristically short, often organized by syntactic repetition or sound play rather than by syntactic units, and they either eschew punctuation or use it as a visual as much as a rhetorical marker. As Suzanne Churchill notes, however, her use of white space mid-line is her “signature formal device” from her earliest publications (118). In the 1914 poem “Parturition,” Loy writes:

Locate an irritation              without
It is                                      within
                                             Within
It is without

The sensitized area

Is identical          with the extensity

Of intension (1996, 4, stanza 3)

10In this poem about the labor of birthing, Loy marks the visceral materiality of pain and the mother’s simultaneous experience of wonder with disorienting spatial placement of words on the page. The fetus within will soon be the child “without.” It is and is not a part of the mother’s body. “Intension” puns on the painful tension of labor and “intention,” or what the mother intends; “extensity” similarly puns on extent and tenseness. Given that “intension” is also a linguistic term signifying any quality connoted by a word or symbol, or that which makes the word signify, one can read this phrase of Loy’s as pointing at her own use of language. “The sensitized area / Is identical with the extensity / Of intension”: Loy’s poetic “intensions” have extensity and are inseparable from them; they also give birth or bear fruit. Perhaps this combined sensitivity and fertility of extensive intension defines Loy’s “line.”

11A 1915 poem, “The Effectual Marriage, Or the Insipid Narrative of Gina and Miovanni” may be Loy’s first use of what Williams later develops as a “triadic line”—that is, a diagonal extension of the line across the page. Loy writes:

Of what their peace consisted
We cannot say
Only that he was magnificently man
She insignificantly a woman who understood
Understanding        what is that
To Each     his entity      to others
their idiosyncrasies to the free expansion
to the annexed         their liberty
To man his work
To woman her love
Succulent    meals        and an occasional caress
                      So be it
                                 It so seldom is (1996, 37-38)

12Loy rarely uses this device, more frequently extending the line through line-internal spacing rather than diagonally, but (like Pound) she has several unique or occasional experiments with the spacing of lines. In “Brancusi’s Golden Bird” (1922), lines are flush left, except that a single line is printed 6 spaces further to the left than any other; appropriately, that line consists only of the words “As if.” “Apology of Genius” (1922) begins with the flush-left line “Ostracized as we are with God” and the rest of the poem’s lines begin further to the right—as it were ostracizing the first line by constituting a new margin. In “Poe” (composed 1917-18), Loy sets two lines further to the left than others: the first constitutes its own stanza and the second is a one-word line in stanza 3.

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