By Linda Anderson
Linda Anderson explores Elizabeth Bishop's poetry, from her early days at Vassar collage to her final nice poems in Geography III and the later uncollected poems. Drawing generously on Bishop's notebooks and letters, the ebook situates Bishop either in her historic and cultural context and by way of her personal writing procedure, the place the years among starting a poem and finishing it, for which Bishop is famous, are obvious as an important a part of their composition. The booklet starts off via providing a brand new examining of Bishop's courting with Marianne Moore and with modernism. via her trips to Europe Bishop, it's also argued, realized greatly from visible artists and from surrealism. but the ebook additionally follows the way in which Bishop got here again to stories of her adolescence, constructing rules approximately narrative, with a view to discover time, either the losses it calls for and the connections it makes attainable. The strains of connections are either these among Bishop and her contemporaries and her context and people she inscribed via her personal paintings, suggesting how her poems contain a technique of arrival and create new probabilities of which means.
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Extra info for Elizabeth Bishop: Lines of Connection
23 Interestingly, Wilenski also includes, by way of illustration, photographic details of several paintings including, in almost surrealist fashion, a close-up of single eyes in portraits by Sargent of Henry James and by Rubens of Maria de Medici. For other art historians of this period it was specifically the baroque that they turned to in order to define a mood of unease. Heinrich Wölfflin, whose definitive work The Principles of Modern Art was first published in 1915 and then translated and republished in New York in 1932, helped to delineate the features of the baroque which could be usefully configured with modern art.
102. 36. Moore, Selected Letters, p. 431 (26 March 1943). ‘Foreword’, A Marianne Moore Reader, p. xv. Moore, Complete Prose, p. 183 39. Ibid. p. 183 40. VC 72A, p. 6. Alison Rieke, ‘ “Plunder” or “accessibility to experience”: Consumer Culture and Marianne Moore’s Modernist Self-Fashioning’, Journal of Modern Literature, 27 (2003), pp. 149–71 (p. 150). Moore, Selected Letters, p. 296 (22 February 1933). Moore, Complete Prose, pp. 327–9. 44. Kathryn R. Kent, Making Girls into Women: American Writing and the Rise of Lesbian Identity (Durham: Duke University Press, 2003), p.
3, p. 2. 77. 3, p. 28. 78. Quoted in Thomas Travisano, Elizabeth Bishop: Her Artistic Development (Charlottesville: University of Virginia Press, 1988), p. 72. Kalstone, Becoming a Poet, p. 94. Moore, Selected Poems, p. 121. Moore, Selected Letters, p. 86 (13 November 1910). See WIA, p. 2. 1 Unwittingly, however, they had boarded a ‘Nazi boat’ and had to contend with an ‘impossible’ group of German passengers, whom Bishop hid from as much as she could and complained about as having ‘tramped on my person and my intellect’ (OA, 33).