Marianne Moore, the James family, and the politics of celibacy

Twentieth Century Literature, Summer, 2003 by Linda Leavell

A remark to a classmate a few months later reinforces the identification of Peggy with the portrait: "I hate to make Peggy an object d'art and it is her fault that I do" (Selected Letters 38). In "Pym" Alexander muses on the differences between the "silly fools that affect a claim upon me" (15) and the "calm, fond aspect" (16) of his material surroundings, which he prefers. Since the portrait of the lady is grouped with the latter, it would seem to represent an ideal, a relationship that inspires Alexander's writing without making demands. But his recognition of the impossibility of such an ideal convinces him to return to his uncle, to "put off the semblance of dignity" and "go in for some actual experience" (15). Even in the deepest throes of Moore's passion for Peggy, it is closely tied in her mind with her emerging identity as an artist.

Moore's interest in Peggy persisted into the spring semester of her junior year--but not without further agonies. Now the agonies focused less on Peggy's behaviors than on Moore's yearning for her own true self. In an especially dark (and for the mature Moore uncharacteristic) moment, she wrote: "I feel as if it is hopeless for me to be as I want, I beat the air like a wild beast at night, and can but hope, at best ... that a little truth and sincerity will burn its way through like the moon through the trees." (22) A few weeks later, her path becomes clear: "Writing is all I care for, or for what I care most" (Selected Letters 45). She seems to have liberated her desire to write from her desire for Peggy: "Peggy is a fair wave in my wake .... I don't want to 'waste myself' on her." (23) This time she meant it. By late April of her junior year, she was at last "over" Peggy, through they continued to be friendly with each other.

The friendship did not survive college. In 1917 Peggy married Bruce Porter, an acquaintance of Henry James and prominent member of the San Francisco arts community. He was a stained-glass designer, amateur architect, and occasional versifier (author of "I never saw a purple cow"). Their two children, extended family, and community were the chief concerns of Peggy's adult life (Lewis 623-25). (24) For Moore, on the other hand, it was the last time she would admit (so far as is known) to an amorous passion.

Not only had Moore been reading, and apparently emulating, Henry James during the months of her Peggy obsession, but she had also begun to read William James. In November 1907 she was invited to give a talk at a Friends meeting (Bryn Mawr had Quaker origins). She wrote home:

      I want to stir things up both morally and intellectually ... I
      think of calling the paper, the abuse of individualism--and say
      that we should feel and mean everything we say and appear to stand
      for. My individualism meaning our normal point of view the thing
      we are born with our 'originality', and by the abuse of it the
      don't-care do-care superior attitude we get with a little
      learning. (25)