Modern American Poetry

(^432) Bonnie Costello America’s anxiety about “the genuine” set in early, of course. The country is continually “awakening” fro ...

Moore’s America 433 but in plain American which cats and dogs can read! the letter ain psalm and calm when pronounced with the s ...

(^434) Bonnie Costello scrutinized the idea of America as a “languageless country” and explored the truth and misprision in the ...

Moore’s America 435 primitive might legitimate American habits of plunder. Affectation and rapacity might seem opposite vices (t ...

(^436) Bonnie Costello oppositional rhetoric of nature and culture with a reciprocal one. In this way Moore’s ambiguous referenc ...

Moore’s America 437 from the gilt coach shaped like a perfume-bottle, to the conjunction of the Monongahela and the Allegheny, a ...

(^438) Bonnie Costello plunder, / but ‘accessibility to experience.’” One would not think of scholastic philosophy as being acce ...

Moore’s America 439 glacier “lies.” And the passage goes on to suggest a distinction between this elusive reality and the frames ...

(^440) Bonnie Costello William Cronon has documented in “The Trouble with Wilderness.” But the poet can evoke a recalcitrant rea ...

Moore’s America 441 “Completing a circle, you have been deceived into thinking you have progressed.” The octopus on the aerial m ...

(^442) Bonnie Costello specific relevance to the tradition of the American sublime, of course, and the myth of America as the un ...

Moore’s America 443 widened. Exhausted from her editorship, and from attending to her mother’s weakening health, perhaps also re ...

(^444) Bonnie Costello water will not flow. No work goes on in this eclogue, though there are “fishnets arranged to dry.” Virgil ...

Moore’s America 445 to want to make you feel at home. Nature is close but does not consume us; technology is close but does not ...

(^446) Bonnie Costello for America, and knows that small-town life is not an escape from the corruptions that plague America. Na ...

Moore’s America 447 human and thus a sinner. (We recall Jonathan Edwards’ “Sinners in the Hands of an Angry God” in this image o ...

(^448) Bonnie Costello was becoming a commodity, something we could collect to enhance our image and permit our complacency abou ...

Moore’s America 449 origin stands continents away. The hero’s foil is the “fearless sightseeing hobo” (who is implicitly not at ...

(^450) Bonnie Costello after the Jamestown settlement. It aims for a different kind of seeing than “sight seeing.” And it engage ...

Moore’s America 451 the trumpet-flower, the cavalier, the parson, and the wild parishioner. A deer- track in the church-floor br ...