Marianne Moore is known for her bold formal innovation, yet the radical form of her poetry contradicts with the so-called conservative content, which is said to be particularly represented in her poetry of 1930s and thereafter. This paper tries to decode this contradiction and modify the misreading of her poetry under the lens of Nie Zhenzhao's conception of brain text. The paper holds that it is of absolute necessity in the first place to have a preliminary understanding of the constructive significance of quotation to American culture, and of hybrid and dehierarchical nature of Moore's poetry, which in turn becomes the starting point to return to the 30s' context of pursuing American cultural identity to reread Moore's poetry. This thesis then proposes that Moore, with her strategy of collage-like and hybrid quotation, carries out her way of Americanness writing. Moore represents American reality with multiplicity as its core by presenting American landscape on the one hand, and attempts to define America by apparently discussing moral traits or quality through the image of exotic place and animals on the other.
