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The Library of America Interviews Lloyd Schwartz About Elizabeth Bishop
The Library of America Interviews Lloyd Schwartz about Elizabeth Bishop In connection with the publication in October 2007 of Elizabeth Bishop: Poems, Prose, and Letters , edited by Robert Giroux and Lloyd Schwartz, Rich Kelley conducted this exclusive interview for The Library of America e-Newsletter. Sign up for the free monthly e-Newsletter at www.loa.org . Critics now consider Elizabeth Bishop one of the great poets of the 20th century, but they have a bit of problem placing her. Marianne Moore was an early mentor and Robert Lowell raved about her first book of poems and became a close friend, yet her poems are not confessional. Some people say she reminds them of Wallace Stevens, others of Robert Frost. How would you characterize Elizabeth Bishop’s achievement and why is she so difficult to place? Maybe what makes her hard to place is exactly what makes her different from anyone else. The more we learn about her the more we realize that her biography has a lot more to do with both the kind of poet she was and with the subject of her poems than first meets the eye. Here was someone who grew up essentially an orphan. Her father died when she was only a few months old. Her mother had a series of nervous breakdowns , was not able to take care of her , and was institutionalized when Bishop was four. Elizabeth never saw her again even though her mother lived for 18 more years. She was brought up by her grandparents and her aunts and farmed out to private schools. -
The Emblematic Imagination of Anthony Hecht Worldly and Religious Icons and Rituals
Master’s Degree in English and American literary studies Final Thesis The Emblematic Imagination of Anthony Hecht Worldly and Religious Icons and Rituals Supervisor Ch. Prof. Gregory Dowling Assistant supervisor Ch. Prof. Gabriella Vöő Graduand Elena Valli Matricolation number 871686 Academic Year 2019/2020 Index 0. Introduction ......................................................................................................................... 1 1. The Seven Deadly Sins: Anthony Hecht and the Emblematic Tradition ........................ 3 1.1. Emblematic Poetry .................................................................................................... 3 1.1.1. Hecht’s Emblematic View of Nature ............................................................ 3 1.1.2. Hecht’s Emblematic Practice........................................................................ 4 1.1.3. A Definition and History of Emblems .......................................................... 5 1.1.4. Metaphysical Poetry and the Emblematic Tradition ................................... 8 1.2. The Seven Deadly Sins ............................................................................................ 10 1.2.1. “Pride” ........................................................................................................ 13 1.2.2. “Envy” ........................................................................................................ 20 1.2.3. “Wrath” ...................................................................................................... -
Elizabeth Bishop's "Damned 'Fish'"
Journal X Volume 3 Number 2 Vol. 3, No. 2 (Spring 1999) Article 5 2020 The One That Got Away: Elizabeth Bishop's "damned 'Fish'" Anne Colwell University of Delaware Follow this and additional works at: https://egrove.olemiss.edu/jx Part of the American Literature Commons Recommended Citation Colwell, Anne (2020) "The One That Got Away: Elizabeth Bishop's "damned 'Fish'"," Journal X: Vol. 3 : No. 2 , Article 5. Available at: https://egrove.olemiss.edu/jx/vol3/iss2/5 This Article is brought to you for free and open access by the English at eGrove. It has been accepted for inclusion in Journal X by an authorized editor of eGrove. For more information, please contact [email protected]. Colwell: The One That Got Away: Elizabeth Bishop's "damned 'Fish'" The One That Got Away: Elizabeth Bishop's “damned Fish’” Anne Colwell Anne Colwell, an Everyone who writes about Elizabeth Bishops Associate Professor of poems must comment on her "powers of observa English at the Univer tion.” It’s a rule. Randall Jarrell’s famous early sity ofDelawar e, is the review remains one of the pithiest of these com ments: "All her poems have written underneath I author of Inscrutable have seen it” (235). And many critics, before and Houses: Metaphors since Jarrell, base their readings of Bishop’s poems on of the Body in the the assumption of her realism. Lloyd Frankenberg Poems of Elizabeth writes, "hers is a clearly delineated world” of "percep- Bishop (U ofAlabama tion[,] precision, compression” (331, 333). Walker P). Her poems appear Percy argues that the true subject of her poetry is the act of perception itself (14). -
0403 Plutzik.Pdf
Hyam Plutzik The namesake of the English department’s celebrated reading series, the poet began with readings of his own work as a faculty member from 1945 to 1962. 38 ROCHESTER REVIEW March–April 2012 University LibrAries/DepArtMent of rAre books, speciAL coLLections, AnD preservAtion 4_RochRev_Mar_2012_Features-Plutzik.indd 38 2/28/12 1:43 AM Li Terary LighTs Over the past five decades, the Plutzik Reading Series has brought some of literature’s biggest names to campus to carry on its namesake poet’s mission to share the power of poetry. Anthony Hecht A frequent reader in—and a former director of—the series, Hecht won the Pulitzer Prize for The Hard Hours in 1968 as a Rochester English professor. By Valerie Alhart James Baldwin he roster reads like a Who’s Who of modern literature: A novelist, James Baldwin, Ted Hughes, Robert Lowell, Bernard essayist, poet, Malamud, Michael Ondaatje, Adrienne Rich, Salman and playwright, Rushdie, Allen Ginsberg, Rita Dove, J. M. Coetzee, W. S. Baldwin was Merwin, Elizabeth Bishop, John Ashbery, Anne Sexton, a guest of the and John Updike, to name a few. series in the TSince 1962, more than 300 poets, novelists, and nonfiction spring of 1972. writers have been guests of the English department’s Plutzik Reading Series, sharing their work with students, faculty, and area community members in one of the nation’s longest-running collegiate reading programs. Plutzik, who joined the Rochester English faculty in 1945, made it his mission to ensure that students would be able to appreciate poetry not only on the page, but also as a performative act, in which listeners would experience the excitement of an impassioned author at a podium. -
A New Selected Poetry Galway Kinnell • 811.54 KI Behind My Eyes
Poetry.A selection of poetry titles from the library’s collection, in celebration of National Poetry Month in April. ** indicates that the author is a United States Poet Laureate. A New Selected Poetry ** The Collected Poems of ** The Complete Poems, Galway Kinnell • 811.54 KI Robert Lowell 1927-1979 Robert Lowell; edited by Frank Elizabeth Bishop • 811.54 BI Behind My Eyes Bidart and David Gewanter • Li-Young Lee • 811.54 LE 811.52 LO The Complete Poems William Blake • 821 BL ** The Best Of It: New and ** The Collected Poems of Selected Poems William Carlos Williams The Complete Poems Kay Ryan • 811.54 RY Edited by A. Walton Litz and Walt Whitman • 811 WH Christopher MacGowan • The Best of Ogden Nash 811 WI The Complete Poems of Edited by Linell Nash Smith • Emily Dickinson 811.52 NA The Complete Collected Poems Edited by Thomas H. Johnson • of Maya Angelou 811.54 DI The Collected Poems of Maya Angelou • 811.54 AN Langston Hughes The Complete Poems of Arnold Rampersad, editor; David Complete Poems, 1904-1962 John Keats Roessel, associate editor • E.E. Cummings; edited by John Keats • 821.7 KE 811.52 HU George J. Firmage • 811.52 CU E.E. Cummings Elizabeth Bishop William Blake Emily Dickinson Ocean City Free Public Library 1735 Simpson Avenue • Ocean City, NJ • 08226 609-399-2434 • www.oceancitylibrary.org Natasha Trethewey Pablo Neruda Robert Frost W.B. Yeats Louise Glück The Essential Haiku: Versions of Plath: Poems ** Selected Poems Basho, Buson, and Issa Sylvia Plath, selected by Diane Mark Strand • 811.54 ST Edited and with verse translations Wood by Robert Hass • 895.6 HA Middlebrook • 811.54 PL Selected Poems James Tate • 811.54 TA The Essential Rumi The Poetry of Pablo Neruda Translated by Coleman Barks, Edited and with an introduction Selected Poems with John Moyne, A.A. -
Exam List: Modernist Roots of Contemporary American Narrative Poetry Brian Brodeur
Exam List: Modernist Roots of Contemporary American Narrative Poetry Brian Brodeur Primary: 1. E.A. Robinson, Selected Poems (ed. Mezey) 2. Robert Frost, Robert Frost’s Poems (ed. Untermeyer) 3. Wallace Stevens, The Man with the Blue Guitar (1937) 4. T.S. Eliot, Collected Poems (1963), plus these essays: “Reflections on Vers Libre” (1917), “Tradition and the Individual Talent” (1917) “Hamlet” (1919), “The Perfect Critic” (1920), “The Metaphysical Poets” (1921), “The Function of Criticism” (1923), “Ulysses, Order and Myth” (1923), and “Baudelaire” (1940) 5. Ezra Pound, Selected Cantos (1965) 6. W.C. Williams, Paterson (1963) 7. H.D., Trilogy (1946) 8. Robinson Jeffers, “Tamar” (1923), “Roan Stallion” (1925), “Prelude” (1926), “An Artist” (1928), “A Redeemer” (1928), “Cawdor” (1928), “The Loving Shepherdess” (1928), “Dear Judas” (1928), “Give Your Heart to the Hawks” (1933), “Hungerfield” (1948) 9. Hart Crane, The Bridge (1930) 10. Robert Lowell, Life Studies (1959) and The Dolphin (1973) 11. Theodore Roethke, The Far Field (1964) 12. Elizabeth Bishop, “The Man-Moth” (1946), “The Weed” (1946), “The Fish” (1946), “The Burglar of Babylon” (1965), “First Death in Nova Scotia” (1965), “In the Waiting Room” (1976), “The Moose” (1976), and “Santarem” (1978-9). 13. John Berryman, Homage to Mistress Bradstreet (1956) and The Dream Songs (1969) 14. James Merrill, The Changing Light at Sandover (1982) 15. Dana Gioia, David Mason, and Meg Schoerke, Twentieth-Century American Poetry (2003) Secondary: 1. Edgar Allan Poe, “The Poetic Principle” (1850) 2. Erich Auerbach, Mimesis: The Representation of Reality in Western Literature (1946) 3. Frank Kermode, “The Modern” (1967) 4. Hugh Kenner, The Pound Era (1971) 5. -
Brooks and Warren
NATIONAL ENDOWMENT FOR THE HUMANITIES • VOLUME 6 NUMBER 2 ° APRIL 1985 Brooks and Warren by ROBERT PENN WARREN Cleanth Brooks On the announcement by the National Endowment for the Humanities that Cleanth Brooks had been selected as the Jefferson Lecturer, the editor of this journal kindly invited me to write a little essay about him. Naturally, my heart was in the project, but I finally accepted with a degree of uncertainty and doubt. For some days I could not find a way for me into the subject. There are, without question, others more capable of assessing his contribution to the criticism of this period. And what would it mean, I asked myself, if I gave the impressive list of his distinctions and tried to recount the influence he has exerted on scholars and critics—or the mutual blood letting? Then I stumbled on the notion that I am about to pursue. Thinking of Cleanth led me to think in general about a peculiar good fortune that has been with me most of my life. Time and again, at some crucial moment, I have come upon a person who could open my eyes to some idea, some truth, some self- knowledge, some value that was to make all the dif ference to me—something which sometimes I had been half-consciously fumbling for in the dark. The revelation might come in an instant or might grow over a long friendship. No clearer case of such a pro longed process has ever come to me than that of the long friendship with the Jefferson Lecturer of this year. -
Robert Lowell's Day by Day: "Until the Wristwatch Is Taken from the Wrist"
RichardTUlinghast Robert Lowell'sDay byDay: "Untilthe wristwatchis takenfrom the wrist" T JLo read Robert Lowell's last book, Day byDay, published shortly before his death in 1977, is to accompany the poet on a valedictory retrospective of his life and work. This is the most elegiac book of one of our great elegists. In poem after poem he says - goodbye not only to old friends but to old ideas the ruling ideas of the time in which he lived. He continues to feel ambivalent about the third of his troublesome marriages, wondering whether he had made a mistake in leaving his second wife, Elizabeth Hardwick, to marry the Anglo-Irish novelist Lady Caroline Blackwood. - Ambivalence was Lowell's characteristicstance a stance that positioned him ideally to exemplify many of the conflicts of his period. When he died in a taxicab on the way to Hardwick's apartment in Manhattan after a flight from London, he was car- rying, wrapped in brown paper, the famous portrait of Caroline Blackwood, Girl in Bed, which had been painted by her first husband, Lucian Freud. In an interview in the September, 1993, issue of Town and Country, Blackwood reveals that attendants at the hospital had to break Lowell's arms to remove the picture from his grasp. Day by Day has the overall effect of an almost posthumous work: On the last page of Ian Hamilton's biography of Lowell, William Empson's words on King Lear are invoked: The scapegoatwho has collectedall this wisdom for us is viewed at the end with a sort of hushedenvy, not I think reallybecause he has become wise but becausethe generalhuman desirefor experiencehas been so glutted in him; he has been througheverything. -
A Collection of Letters Offers a New Look at the Life of Poet Anthony Hecht
Poet & Epistolarian A collection of letters offers a new look at the life of poet Anthony Hecht. By Karen McCally ’02 (PhD) 36 ROCHESTER REVIEW March–April 2013 University LibrAries/DepArtMent of rAre books, speciAL coLLections, AnD preservAtion 4.3_RochRev_Mar2013_Hecht.indd 36 2/21/13 1:33 PM March–April 2013 ROCHESTER REVIEW 37 4.3_RochRev_Mar2013_Hecht.indd 37 2/21/13 1:33 PM October 9, 1976 Rochester, N.Y. My dear young man, It is, I think, salubrious and worthwhile for us all to meditate, from time to time, on the great theme of mutability and transience, to mortify our overweening vanity, and to say with the preacher, ‘What profit hath a man of all his labour, . .’ and so forth. What, after all, is Fame? And what, Celebrity? Fleeting evanescences, mere toys and illusions. I know you will think this simple modesty in me, and dismiss it with a casual wave of the hand. But when you attain to my age and gravity, you will know that some of those goals, which in your youth seemed the only possible or valuable target upon which attention could seriously be fixed, turn out in the end to be gossamer-friendly or utterly illusory. What are we, after all, but a handful of dust, if I may thus express myself? o wrote the poet Anthony Hecht to his friend William MacDonald, an archaeological historian. The letter concerned Hecht’s purchase of a book in the University of Rochester book- store—on the remainder shelf, at a steeply reduced price. The book had been a classic in Roman history, and in his musings to MacDonald, with whom he enjoyed especially colorful exchanges, Sthe eminent poet expressed the anxieties born of acclaim with his character- istic wit and rhythmic prose. -
Landscapes, Animals and Human Beings: Elizabeth Bishop's Poetry
Landscapes, Animals and Human Beings: Elizabeth Bishop’s Poetry and Ecocentrism Iris Shu-O Huang Intergrams 10.2-11.1(2010): http://benz.nchu.edu.tw/~intergrams/intergrams/102-111/102-111-huang.pdf ISSN: 1683-4186 Abstract Elizabeth Bishop’s poetry is characterized by a deep gaze at the landscapes, containing animals and human beings – i.e. the vivid actuality of the earth as a biosphere, rather than anthropocentric absorption in idealism, logos or ideologies of human society. Although deviating from contemporary confessional poets, Bishop might be ranked among American nature writers due to her attachment to nature. Symptomatic of modern American nature writings, Bishop foregrounds nature; in Bishop’s poetry nature is not an ornamental background upon which human dramas are played. Detailed facts of a natural scene or animals themselves often constitute the main texture of Bishop’s poems, while human wills become insignificant. Critics describe these qualities of Bishop as reticence, impersonality or painters’ craft. In this essay I seek to relate these characteristics of Bishop to an ecocentric worldview in terms of deep ecology. An ecocentric vision is seen in Bishop’s poetry, in which other creatures register autonomy, while man is a mere component rather than dominant protagonist of the landscapes. Bishop’s poetics illustrates an interactive egalitarianism, rather than sterile, hierarchical relationship between man and nature. Instead of the alienation resulting from authoritarian imposition of anthropocentrism, a reciprocal relationship between man and nature is brought about by Bishop’s selfless stance of mutual esteem. Thus, in Bishop’s scenes, there is a higher harmony, in which human consciousness ceases trying to give order to but surrenders itself to nature. -
The Power of the Word Along the Great Road
chapter one the power of the word along the Great Road Boston : in the beginning ◆ William Bradford’s Of Plymouth Plantation was written near the Great Road long before there was such a road, and published in 1630. It’s still a fascinating read. The first American to publish a book of poems was Ann Bradstreet, in 1650. Born in Northamptonshire, England, she emigrated to Boston in 1630, as a founder of the Massachusetts Bay Colony. Phyllis Wheatley was born in Africa and brought to America as a slave. Freed and living in Boston, she published a book of poems in 1773; she was the first African American to do so. The Word—the American English written word, in poems, sermons, memoirs, histo- ries—began in and near Boston, and swept west. Today, US 20 begins three miles west of Massachusetts Bay, in Ken- more Square, under the shadow of Fenway Park’s fabled left field wall, the “Green Monster.” In the 1950s, US 20 began two miles farther east, almost at the sea; at the west end of Boston’s Public Garden, next to Boston Common, the heart of the old city. It is tempting to deal with these historic places and their associations, but Boston is too big a subject for a book about a highway that simply starts west from there. Dozens of major American writers have significant connections to Boston or Cambridge, often through Harvard University: Cotton Mather, Edgar Allan Poe, Oliver Wendell Holmes, Henry Wadsworth Longfellow, T. S. Eliot, e. e. cummings, Elizabeth Bishop, Robert Lowell, Charles Olson, John Berryman (whose poem pays “Homage to Mistress Brad- street”), Robert Creeley, John Ashberry, Frank O’Hara, Robert Bly, Kenneth Koch, George Plimpton, Donald Hall, Adrienne Rich, and so 1 © 2008 State University of New York Press, Albany 2 ◆ twenty west on and on. -
Jefferson College Course Syllabus
JEFFERSON COLLEGE COURSE SYLLABUS ENG255 POEMS AND THEIR MAKERS 3 Credit Hours Prepared by: John Pleimann October 2016 Michael Booker, Division Chair, Communication and Fine Arts Shirley Davenport, Dean, Arts and Science Education ENG255 POETRY: POEMS AND THEIR MAKERS I. CATALOGUE DESCRIPTION A. Prerequisite: Reading proficiency B. 3 semester hours credit C. Poems and their Makers includes the lives of influential American modernists from Whitman to Plath. Students relate essential elements that contribute to poetry’s insights and possibilities, with Voices and Visions sources. (F,S, O) II. EXPECTED LEARNING OUTCOMES AND ASSESSMENT MEASURES ENG 255 Expected Learning Outcomes Assessment Measures Understand and discuss important biographical Reading responses, quizzes, and exams influences on major American poets featured in the PBS Voices and Visions series. Understand the following poetic elements within Reading responses, quizzes, and exams the individual poem: image, sound and rhythm, structure, and theme. Show skill as a critical reader by demonstrating an Reading responses, quizzes, and exams awareness of language, its denotative and connotative meanings. Be able to identify essential elements that Reading responses, quizzes, and exams contribute to the poem’s effectiveness. Be able to choose a suitable topic for a longer Analytical paper analytical paper, and then write an analysis in proper MLA documented form. III. OUTLINE OF TOPICS (course content will be drawn from this) A. Introduction (what poetry is and is not) 1. The class will read and react to a variety of contemporary poets (some unknown) to decide on what poetry is. 2. Poetry may not necessarily be rhymed or written in complete thoughts.