Viewed as congenitally (rather than culturally) particularistic, the woman artist is doubly condemned to produce inferior works of art: because of her close association with nature, she cannot but replicate it. (11)
Wouldn't her time be better spent replicating human life? is the suggestion implicit in the ideology Schor is describing here.1
I suggested in my previous post that poetic irritation, or maybe irritability (who, after all, is being irritated here?) has something to do with a tediously citational female word-labor, antithetical to poetry in the case of Nella Larsen’s constantly irritated fictional character Helga Crane, and the very “raw material of poetry in all its rawness” in the case of Marianne Moore. “[W]e discern Miss Moore being a librarian, an editor, a teacher of typewriting: locating fragments already printed; picking and choosing; making, letter by letter, neat pages” (Kenner 98).
In her chapter on “Irritation” in Ugly Feelings, Sianne Ngai focuses first of all on Helga Crane, the ever-ambivalent and often-irritated protagonist of Nella Larsen’s 1928 novel Quicksand. Helga is, at one point, a processor of scraps of others’ texts, and this tedious word-labor is a prime source of “irritation.” Ngai compares her to Melville’s Sub-Sub Librarian, but unlike that of our full-eyed poor devil of a Sub-Sub, Helga’s is not a labor of love. It is, in a very literal sense, a job, imposed by the wealthier woman who employs her.
One of the great appeals, for me, of Marianne Moore’s poetry is that sense of irritation that the poems so often give off—a minor affect, a pervasive mood. “To Be Liked By You Would Be a Calamity,” she titles one poem, in a most uncalamitous tone, in the conditional: an antipathy speculated upon and held off. Is it an accident that she, too, is a weaver of textual scraps, whose use of “business documents and//school-books” in poems is infamous?
This finicky female word-labor, not quite authorship, then, is irritating to Helga, but she swallows her annoyance. Moore, instead, undertakes it deliberately, then thematizes it. “I, too, dislike it.”