324:. Levertov and Morley became friends in the late 1950s, and they had an extensive correspondence. Morley greatly respected Levertov as a poet, and valued her advice. Levertov wrote on Morley, “The lucid, the illuminated quality of poem after poem is given them by the precision of their structure…the sum of the parts is, as in all the open ‘secrets’ of nature and of art, beyond accounting: the duende is dark within transparence.” Morley had five volumes of poetry published within her lifetime, and another after her death. Her poetry is involved with life and living, as well as a powerful collection dealing with the death and mourning of Wolpe, "What Are Winds and What Are Waters". Morley's work has been compared to
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during a residency there in 1969. She persuaded Morley to change her poetry using spacing and breaks for expressive effect. Morley revised her earlier poetry as well, using open construction. Morley wrote, “The poem of organic form molds its phrasing and spacing to conform to the pressures of the
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has written of Morley's work, “"How simple the language is, not a rhetorical gesture, not an unnecessary adjective, yet heightened by interweaving lines, cadences, and tones, by urgency of feeling and fineness of perception. We have these expressive works, indispensable to what we call
American
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comments, “In the poem from which the passage is taken she meditates on John Donne's ‘Goodfriday, Riding
Westward' and mounts on that meditation an oceanic spate of images pertaining to the death of her beloved – a montage with a span of three centuries, so rich and eloquent, even in its
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extravagance, that it constitutes a daring tour de force. It is a vehicle that threatens on almost every page to fall apart, but in the end, out of the ‘clair bones’ and the dark years, the imagination seems to spread its sails and fly, ever westward, to the open water.”
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in 1964, and Morley's life was greatly affected by her need to care for him until his death in 1972. Morley's understanding of her own art was greatly influenced by her life with Wolpe and he and his music are a major theme of her work.
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Part of the force of Morley's work is a boldness to go as far as she can within her medium. In her hands it is always an expressive personal means. In writing on Morley's long poem “The
Shutter Clangs”
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Article: Brian
Conniff, 'Reconsidering Black Mountain: The Poetry of Hilda Morley', American Literature, 65 (1993), pp. 117-130. (Link to Jstor Database: Needs Login information)
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of painting was a lasting influence on her poetry. She wrote major poems that are inspired by individual works of visual art. Through Eugene Morley she became friends with
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for most of her last decade. In 1997, she returned to London, which had been a longtime wish, where she died on March 23, 1998, after a fall.
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began in London she moved back to the United States. In 1945, she married the
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The influence on the open construction of the poetry of Hilda Morley was not
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would watch her from his studio window, and declared that she was his muse.
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After living in New York for three decades Morley moved to
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