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Product Details
Paperback: 392 pages
Publisher: Farrar, Straus and Giroux; Reprint edition (March 6, 2007)
Elizabeth Bishop published less than 100 poems prior to her death in 1979. This new collection is similiar to a box CD set of studio out-takes of a rock musician : not essential for the causal reader but a must for a true believer of the artist. It is the definitive edition of her unpublished work with extensive notes and annotations. Some of her private poetry is considerably more erotic and emotional than her previously published work and the new poems (over 100+) are the reason to buy this edition. Having said this, the reader is referred to "The Complete Poems, 1927-1979" (1983) of Elizabeth Bishop.
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This rather strangely titled book is a tribute to the demand for Elizabeth Bishop's work. It is a set of pieces gleaned from some 3,500 pages in the Vassar College library collection. Not exactly random (but almost) here are 108 poems, some prose, notes she took, some sketches, some facimilies of her papers, some sketches she made, and other pieces harder to describe.
Obviously this is a book that will appeal most to people who are already Elizabeth Bishop fans. This is more of a work in process. It tells more about her as a person, it illustrates the great effort she went to get her poems just right before sending them off for publication. It shows something of the way her mind worked.
The work here is not Ms. Bishop's best. It's unfinished. Some of the shorter pieces, fragments really, make you wonder where she might have taken it.
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The introduction notes Elizabeth Bishop's perfectionism. Katharine White and Howard Moss of THE NEW YORKER begged her to release her manuscripts.
Everything in this volume of unpublished works is at the Vassar College Library in the Department of special Collections. One of the poems speaks of Baltimore, the painted scenes on window screens. North of Boston a double decker, not a triple decker, is mentioned in a poem.
In the Appendix in a prose work there is an essay concerning the mechanics of pretence. Another piece, covering events related in the poem 'Sister and Dickie' focuses on Bishop's aunt and uncle and their circumstances. In the story they are referred to as the Sullivans. Their real name was Shepardson. They were poor and thrifty.
In another piece Bishop writes that in poetry she likes accuracy, spontaneity, and mystery. Her favorite poets are Herbert, Hopkins, and Baudelaire. The notes at the back of the book disclose that Bishop believed Marianne Moore and Robert Lowell to be the most important poets of the twentieth century.
Following the notes, (some of the best parts of the book, I think), is an extensive bibliography.
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These previously unpublished poems and essays (exhausively footnoted) indeed do not display the fine craftsmanship of Bishop at her best. But they do reveal the extraordinarily chaotic life of a poet beset by all manner of dire events: bouts of alcoholism, suicides of lovers, relatives dying in madhouses etc. that make it a very gripping read.
I chose this particular poem to read because it best represents these elements in Bishop's life. Her approach to it and herself was extremely sardonic. Indeed, having read all the poems included herein aloud, I find it impossible to get the tone correct without adopting a sardonic, self-mocking manner. It's simply the only plausible way to read these poems.
This is not the best Bishop poem, but it's the most representative of this volume. It reveals the dark side of herself which she hid from the world and did not want us to see.
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Now that this is remaindered, it's safe to pick up a copy. No, it is not a perfect EB collection, but it doesn't claim to be. Any time one delves into the unpublished material of a writer, one knows one is not going to find gold--it's not here. But it sure is interesting stuff. I do wish someone had transcribed rather than reproduced the series of drafts of "One Art." There's real insight into EB's process.
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