Elizabeth Bishop

For poets Elizabeth Bishop and Gabriela Mistral, the potential of Portuguese saudade was an answer to the crises of alienation and identity they faced as exiles. Drawing upon their poetry, correspondence, and translations of Lusophone literature, this paper examines how, by engaging with this foreign concept, both queer women poets living outside of their respective homelands engaged with their own senses of isolation and unhomeliness. Describing the potential of saudade in an endnote to the section titled "Saudade" in Tala, her third volume of poetry first published in 1938, Mistral states "I firmly believe, with Stefan George, in a future of borrowing language to language in Latin America. At least, in the case of certain words, clear achievements of the genius of each language, unshakable expressions within their range of 'true' words" (2003 p. 244). Both poets turned to this word as they were reconciling the heteronormative forces displacing them within their homelands. Ultimately, Bishop and Mistral mobilize the notion to address the traumas of displacement, loss, and sexual difference as they explore the 'truth' and nuance of the word through their writings.

In a contribution to a symposium on xenophilia, this essay—a study of Brian Friel's 1980 play Translations—raises the question of whether all xenophilia is by nature doomed to fail. Set in Ireland in 1833, the drama centers on the tension arising from a young British lieutenant's falling in love with an Irish-speaker while he is in her country to translate Irish place-names into English for an imperial cartographic survey. While the lieutenant is referred to in the play as a Hibernophile, the essay interprets his love as xenophilic: love for the foreignness rather than the Irishness of what he encounters. The lieutenant's love of foreign places and their names impedes his effort to systematize Ireland for imperial ends, and his love for an Irish woman brings about his own undoing. Applying Simone de Beauvoir's view of alterity to the lieutenant's xenophilia, the essay questions whether the English written over the Irish in this play and the lieutenant's desire written over the objects of his love obscure enough of the other's otherness to render his xenophilia no longer viable.

Bishop's The Moose abounds in tropes. These furnish the poem with a powerfully exciting set of rhetorical flourishes that betray the narrator's uneasy agon with his surroundings and, consequently, with herself. The poem's final scene downplays the possibilities for redemption offered by the preceding sections, making the poem, ultimately, a study in the limits, and sometimes impossibility, of successful negative capability.

A Display of Mackerel" will be close-read in attempts to compare and contrast them with each other. Both poems are about fish, but Bishop and Doty's approach to the subject and their way of expressing it are different from each other. The aim of this close reading is to both examine Bishop's "The Fish" and Doty's "A Display of Mackerel" in detail and demonstrate the similarities and differences between both poems in terms of their contents, styles and voices. Firstly, when Doty describes a group of mackerel and stresses their unity, Bishop portrays just a fish and emphasises his individuality.

“The whole conviction of my life now rests upon the belief that loneliness, far from
being a rare and curious phenomenon, is the central and inevitable fact of human
existence.”
                        Thomas Wolfe

A psychoanalytic look at aspects of Loneliness, with an emphasis on internal factors, further to those described by Melanie Klein, is presented. In particular, importance is given to Paternal Reverie as compared with Bion's concept of Maternal Reverie. Examples from literature and the TV series The West Wing are given, along with a brief clinical example.

This essay discusses shore poems of four American poet of the latter half of the 20th century: W.S. Merwin, Elizabeth Bishop, A.R. Ammons and Denis Johnson. In reference to Whitman, the shore appears as a space created by poets for reflecting their status as well as for staging cultural conflicts of ambivalences. It is argued that the significance of the shore must be seen in regard to the critical discussion of the limit, in which liminality, advocated by Victor Turner, has become a key concept. It is thus the object of this essay to sketch a poetics of liminality for the contemporary poetry of the American shore. The focus hereby lies on the struggle with the limits of poetic language, the instable status of the poet as a figure of the in-between, and the social critique these shore poets level against an America which marginalizes all that questions and does not fit into the ideological mainstream.

Bishop's Brazil: a story of love and discontent My paper aims to illustrate how Bishop's oeuvre portrays her expatriate's experience during her residence in Brazil, by showing a literary landscape that encompasses her affection and disaffection towards her host country. To illustrate this point, I draw on Bishop's letters written to her American friends and explain how the poet's ambivalence vis-à-vis Brazil shows a split " I " / eye towards the other. I also draw on some of Bishop's poetry in which she depicts Brazil and Brazilians. In effect, the representation of the other, particularly the oppressed and dispossessed, is described through the lens of the keen observer, who illustrates how deprivation, marginality or criminality resist to conform to the status quo, and can be read as forms of resistance to the social body. Hence, by not depicting Brazil and Brazilians in the light of the clichés in which Bishop was brought up and that still prevail today, I will prove that in some of Bishop's poems about Brazil, the poet turns her gaze on the poor and illiterate, whilst denouncing the evils of Brazilian society. Thus, in both Bishop's letters and in the poems that I have selected, Bishop's Brazil is simultaneously the space of consent and dissent which, due to its ambivalent representation, helps the poet build her own identity in a space where she paradoxically feels both at home and elsewhere. Furthermore, feeling simultaneously at home and elsewhere in the case of Bishop's long sojourn in Brazil can be proven by a social atmosphere that cherished her but where she rarely used the other's language given her poor speech in Portuguese, despite her good knowledge of both Brazilian and Portuguese literature.

Scott Edward Anderson presents a critical examination of the poem "Crusoe in England" by Elizabeth Bishop, focusing on themes of exile, elegy, and Bishop's depiction of the title castaway character from the book "Robinson Crusoe" by Daniel Defoe. Themes of knowledge, memory, and feelings of displacement in the poem are discussed, as well as loneliness and bliss in the poem.

Some phenomenological accounts of language privilege poetry or literary language more generally as a special form of revealing or disclosure of the world, one distinct from ordinary language. Literature in such accounts is recognised not only as an object of phenomenological study, but as exhibiting a phenomenological quality of its own, as disclosive in ways analogous to phenomenological philosophy. Poetry in these interpretations is not merely the object of tribute, but manifests a unique linguistic event, one which may issue distinctly phenomenological insight. This essay will consider the phenomenology of poetry in terms of both the phenomenological analysis of poetic language as a distinctive linguistic event, and as a hermeneutic approach to poetry itself wherein are found something akin to phenomenological operations. The first part will trace the attention to poetic language and accounts of its special nature sustained in the thoughts of Heidegger and Gadamer, considering more briefly Blanchot and Bachelard. The second part will be devoted to the discussion of phenomenological moments within poems, considering works by William Carlos Williams, Elizabeth Bishop, Rainer Maria Rilke, and Wallace Stevens. That poetry can also strain some aspects of the theory of revealing proposed in standard phenomenological accounts of language will become apparent.

This essay explores the impact of Charles Darwin's often poetic, largely geological travel narratives – the Diary and Voyage of the Beagle – on Elizabeth Bishop's queered travel poems " Crusoe in England " (1976) and " Vague Poem " (circa 1973), in the context of recent feminist theory's materialist ecological " turn. " I survey Bishop's shift from her early Freudian, " primordial " rocky landscapes, projecting submerged desires for a seductive mother figure, to her later deliberate materializations of these psychosexual realms in " the real " of geology's unfolding forces and flows. Adapting Darwin's similarly haunted, dark, Romantic accounts of his voyaging into crustal earth, Bishop's " Crusoe " and " Vague Poem " variously enact an immersion in earth's unfolding volcanic or crystalline ancestral past, which successively opens out " eco-geologically " to enmesh queer human intimacy/ the body. Theoretically, Bishop's Darwinian love poems richly materialize the queer body while redefining our enmeshment in nature as the wellspring of achieved being, intimacy, and desire. Further, Bishop's poems offer a newly relevant feminist ecology within our so-called Anthropocene era of humanly caused, unnaturally accelerated geology. Bishop effectively inserts a " differently " sexed/gendered relation to geologic forces and materialities, thereby countering the neglectful patriarchal anthropos currently scarring our planet. Critics have associated Elizabeth Bishop's eco-poetics and her attraction to Charles Darwin with his often poetic Origin of Species' story of entanglement in our biological, evolutionary ancestral past. They trace her speakers' epiphanic

Este Trabalho de Conclusão de Curso se ancora em duas fontes da literatura e do cinema para debater as representações acerca do relacionamento amoroso de Lotta de Macedo Soares e Elizabeth Bishop,
entre os anos de 1951 e 1967. Estas duas mulheres, arquiteta brasileira autodidata e poeta estadunidense, respectivamente, são as protagonistas do livro Flores Raras e Banalíssimas de Carmen L. Oliveira e do filme Flores Raras, dirigido por Bruno Barreto. Desenvolvido em três capítulos, o primeiro traz as justificativas do uso das fontes pelo viés da História Cultural, o segundo trabalha com a contextualização do ambiente em que o casal viveu e o último traz a análise de como foram retratadas as duas personagens e sua vida em comum, na literatura e no cinema. Considerando as vantagens das expressões artísticas apontamos a visibilidade dada aos relacionamentos afetivos entre mulheres lésbicas enquanto, como contrapartida ou devido aos limites inerentes a cada representação, evidenciamos que a narrativa fílmica tornou as duas mulheres, feitas personagens, mais simples e menos interessantes do que foram.

At the heart of philosophical discussions of poetry is its relation to truth. Advocates and serious readers of poetry may be struck by what they regard as the poem’s inherent truth, even where a poem expresses little that corresponds to any given reality and where its content is resistant to paraphrase. The discovery of likenesses among ostensibly dissimilar things, the rendering of distinctive and profound thought, the evocation of experiences that are at once novel and deeply familiar, the giving voice to genuine and theretofore unarticulated emotion, may play their role in the experience of poetry as a conveyance of truth. Yet philosophers have been divided about poetry from Plato to the present: associating poetry and literature more broadly with illusion, lies, or falsity, on the one hand, or affirming poetry’s unique truth-value, on the other. Yet since even its harshest critics admit that poetry can relay some truth, at issue is whether truthfulness is intrinsic to successful poetry, and whether there is a mode of truthfulness that is distinctly poetic, in distinction from other forms of linguistic expression. This study will trace poetry’s contested relation to truth in the philosophical tradition from Plato to Nietzsche, and outline the phenomenological notion of poetic revealing as a distinctly poetic mode of truth, demonstrating the merits of this latter view in interpreting several poetic works. It will be considered how poetic language, and some particular works of poetry, may resist or exceed this interpretive approach, challenging the presumptions or exhaustiveness of the phenomenological and hermeneutic model through the generative imagination.

It is not new in Brazilian literary critique the perception that the first books of poetry by Carlos Drummond de Andrade have a strong influence of the aesthetics of 1922 modernism. In this work, we intend to analyze some modernists in the book marks the debut of the poet from Minas Gerais – Alguma poesia [Some poetry], from 1930 – and as such marks appear under different nuances in translations carried out by the writer and American intellectual Elizabeth Bishop (1911 -1979), an important disseminator of Brazilian literature and culture in the twentieth century.

In this piece, published in English Language Notes (Summer 2014), I argue that Elizabeth Bishop's poems “Over 2,000 Illustrations and a Complete Concordance” and “In the Waiting Room” embody a cartographic phenomenology. I focus on the ways in which both maps and Bishop’s poems disrupt temporal relationships in their rendering of spatial experiences. Phenomenologist Edward Casey describes this as “the simultaneity of presentation  . . . essential to the perception of maps as configurative formations that bring disparate elements together in a common cartographic space.” I argue that Bishop’s poems produce this sense of simultaneity in two ways: the first is in thwarting the narrative impulse by bringing disparate sites into a “common space” within the poem, without providing information about the circumstances or itineraries that might have linked them. The second is in the reader’s experience of the dual, and simultaneous, potential of the poem: the controlled use of lineation creates the authoritative text, the map-that-masters, at the same time the poem’s structure and imagery invites the reader to explore, associate, and imagine the worlds contained within the poem.

RESUMO: Este ensaio propõe uma abordagem acerca das influências, referências e relações intertextuais da poeta americana Elizabeth Bishop presentes nas poesias de Ana Cristina Cesar e Angélica Freitas. A história de cada uma das escritoras aparece enlaçada nas suas construções poéticas, assim como a presença direta e indireta de diversos escritores em um texto poético. As ideias apresentadas se baseiam em estudos e pesquisas realizados por Julia Kristeva, T.S. Eliot, Roland Barthes, Leonor Arfuch, Carlos Alberto Messeder Pereira, Maria Lucia de Barros Camargo, entre outros. A interpretação aqui exposta desemboca em uma discussão sobre a importância de Elizabeth Bishop como inspiração para poetas que a sucederam e como ela compõe e se perpetua nas poesias através de alusões e citações. ABSTRACT: This paper proposes an approach about influences, references and intertextual relations of the work of the American poet Elizabeth Bishop present in the poetics of Ana Cristina Cesar and Angélica Freitas. The history of the writers appears in their poetic constructions, as well as direct and indirect presence of canonic writers in a poetic text. The ideas presented are based on studies and researches conducted by Julia Kristeva, T.S. Eliot, Roland Barthes, Leonor Arfuch, Carlos Alberto Pereira Messeder, Maria Lucia de Barros Camargo, and others. The interpretation outlined leads into a discussion about the importance of Elizabeth Bishop as inspiration for poets who succeeded her and how she composes and is perpetuated in poetry through allusions and quotations.

Resumo: Este artigo tem como objetivo investigar o impacto de Virginia Woolf na produção literária de Victoria Ocampo. Ocampo disseminou a escrita de Virginia Woolf nos países de língua espanhola, por meio de suas traduções, palestras e publicações. Tal relação trouxe benefício para ambas, o progresso de Ocampo como escritora teve um dramático impacto depois do encontro com Woolf. Ocampo foi severamente criticada por suas relações europeias. Perón, o então presidente da Argentina, pensava que Ocampo estaria difundindo uma visão imperialista; outros, ao contrário, a consideravam uma nacionalista, pois seu trabalho foi de extrema importância para construir a cultura argentina. O feminismo de Ocampo estava ligado à sua posição cosmopolita, sempre viajando e trabalhando para construir uma ponte cultural, artística e literária, a qual romperia com o isolamento da Argentina e ajudaria a difundir a produção artística e literária dos escritores latino-americanos. Palavras-chave: Virginia Woolf; Victoria Ocampo; feminismo; influência literária. Abstract: This paper aims at investigating how Woolf impacted Victoria Ocampo's literary production as it appears in Ocampo's Testemonies. Ocampo disseminated Virginia Woolf's writings in the Spanish-speaking world through translations, public lectures and publications. This relationship was of mutual benefit in a remarkable manner to both of them, Ocampo's progress as a writer was dramatically impacted by Woolf. Ocampo was severely criticised because of her European relations. Peron, the president of Argentina, thought she was spreading an imperialist vision; others, on the contrary, thought that she was a nationalist because her work was of great assistance in building an Argentinian culture. Ocampo's feminism was linked to her cosmopolitan position, always travelling and working to build a cultural, artistic and literary bridge, which would break Argentina's isolation and would help to spread the artistic and literary production of the Latin-American writers.

Allen Ginsberg, prophetic, wildly exuberant, the gay bard who saw himself an heir to Whitman, seemingly occupies  a literary tradition far distant from that of the knotted, formal approach of Elizabeth Bishop. This paper presents a lens for viewing the work of Ginsberg and Bishop through the radical reformulation of body/spirit and desire/sexuality.  Ginsberg, through "outer-leaping" verse and Bishop, through "inter-looping" structure, sought to free the body/spirit by salvaging and reconstituting homosexual desire as a form connective, organic being.  I explore the modalities, styles, and philosophical approaches that enable each poet to resist the power structure of materialism/heteronormativity and revitalize an ecstatic queer subjectivity.

Elizabeth Bishop (1911-1979) é uma poeta norte-americana também conhecida por ter vivido no Brasil durante parte de sua vida, onde escreveu algumas de suas obras e traduziu textos de escritora/es brasileira/os do português para o inglês. Traduzido por: Rafael de Arruda Sobral.

The following manuscript consists of a section of "outer-leaping" poetry, a section of "inner-looping" poetry, a third section comprised of one short story and one poem, and a Critical Introduction. The Introduction discusses how and why I began to explore creative writing, and reveals the rudimentary forms that this earlier writing took. The Introduction then seeks to explore and define two poetic modes.  The first of the these forms is the "outer-leaping" mode, sometimes characterized by an assertive, long line. This mode attempts to "leap" out of the self in order to encounter and interrogate oppressive forces in the external world. The second, "inner-looping" mode, characterized by shorter, more tentative lines and a complex, knotted form, seeks to curl inward, in order to evoke an internal landscape charged with desire and estrangement.

, P.k. Page introduced a glosa based on elizabeth bishop's "The Sandpiper" by admitting that, while both she and bishop lived in brazil in the same period, they had never met. Page's interstitial lyric "Poor bird" is intended, as she works herself through bishop's lines, as both a tribute to bishop and a demarcation of poetic kinship, a provisional map of their common poetic yearning: a vocation year in, year out, morning to evening looking for something, something, something.

When Pulitzer Prize winner Elizabeth Bishop died in 1979, the New York Times acknowledged the "extraordinary esteem among critics and fellow poets" she had enjoyed. The historical span of her writing runs parallel to the change in American poetics from modernist formalism, through the confessional period, and up to postmodernism. The themes of outsiderhood and marginality in her writing, often related to her struggle for sexual self-definition and to her sense of difference, acquire a broader perspective during her Brazilian years. The way we perceive people violated by our own culture, the issue of the writer's conscience when lending her voice to those who cannot speak for themselves, or the writer's doubts if it were better to remain silent at times - these become more and more crucial questions in Bishop's Brazilian poems. Further on, they will become also unpretentious exercises in coming to terms with her location as a foreign white woman living as a part of a privileged class in a society of tremendous social differences. It has been said that Bishop established an American female poetic tradition drawing the attention to these social and racial dynamics. Nevertheless she always tried to hide certain emotional tracks (a possible anti-male sentiment, the almost conscious ignoring of other feminist poets, encodings of a possible lesbian identity, the fear of getting too close to the social evil she depicted) by cryptical or symbolistic transactions and inversions. My essay tries to examine Bishop's Brazilian poems as well as her translations from the Portuguese according to these postcolonial conditions (in terms of racist as well as of gender stereotyping). Brazil had already been a multicultural society when Bishop went to live there for the first time. Her outsider perspective on the circumstances of Brazilian society, as well as her specific choice and translation of Brazilian literature, are a suitable object for the investigation of the consciousness and the struggle of white poets to overcome postcolonial attitudes and literary dicourses.

Os romances de Santiago Nazarian traçam, de muitas maneiras, os contornos da prosa narrativa no final do século passado: personagens sem rumo no deserto fragmentado e imapeável do pós-modernismo. Porém, em outros aspectos, seus romances também seguem em frente, transcendendo o rescaldo da abalada psique pós-moderna, assim revelando um eu móvel e fluido como manifestação do que muitos estão chamando agora de transmodernismo. Este artigo examina a obra de Nazarian a nível psicológico em seus três primeiros romances — Olívio (2003), A morte sem nome (2004) e Feriado de mim mesmo (2005) — através de uma lente pós-junguiana e um personagem recorrente, um escritor chamado Thomas Schmidt. Ao acompanharmos Thomas nestes textos e na luta perpétua com o eu despedaçado, veremos como os livros de Nazarian navegam a crise de identidade do novo milênio no processo criativo, escrevendo ligações entre os pedaços da psique fraturada em vez de tentarem reforjá-la.