Elizabeth Bishop

“What Becomes of Us as We Read?”: Ashbery and Ethical Criticism

by Andrew Field Poetry and Poetics
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What are some reasons why we read poetry? Why turn to a poem over a novel, a play, a philosophical treatise?

John Ashbery: A Pageant

by Andrew Field Poetry and Poetics
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Characters:Wallace Stevens, Marianne Moore, Elizabeth Bishop, W.H. Auden, James Merril, Robert Lowell

A Primer on Writing and Imagery (for those who want it)

by Joe Weil The Other
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You will hear in workshops: “Show, don’t tell,” but that’s a bunch of malarkey. It should be: “Show what tells.”

“Poetry Means You’re Writing About the World”: An Interview with Anne Winters

by Sarah Eggers Poetry and Poetics
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I was introduced to Ms. Winters’ work in graduate school and, ever since, have been a ardent admirere of her lushly orchestrated, yet intimate and searingly honest poems about the “big issues” that so many contemporary poets seem to shy away from: race, class, poverty, and gender.

Lowell’s Bedlam: John McCullough

by John McCullough Poetry and Poetics
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All acts of observation are partial and reveal as much about the observer as the observed.

Lowell’s Bedlam: M G Stephens

by M G Stephens Poetry and Poetics
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Alfred Corn’s play gives us an inner portrait of Robert Lowell that is not found in either the biography or the poetry itself.

Poem of the Week: Carolyn Kizer

by Joe Weil Poems of the Week
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[The Great Blue Heron]

Alfred Corn’s play Lowell’s Bedlam

by THEthe Poetry Blog Editors Poems of the Week

[April 7, London]

Portland

by Stuart Krimko Memoir
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I’m sitting up in bed, or on the couch, as it were, where I have been trying to sleep off the slew of vodka-and-tonics I downed last night at our Sand Paper Press reading here in Portland.  Shawn Vandor, whose Fire at the end of the rainbow was just reviewed over at Dossier, and I […]

The Flaming Poodle of the Mind: Poetry Readings, Vaudeville & Louise Gluck’s Legs

by Joe Weil Aesthetics
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If I am anything at all, I am a vaudevillian. Considering that vaudville has been stone dead the last 80 years, that’s a hard thing to be, but wouldn’t you want to attend a reading where, first, someone read Elizabeth Bishop’s “One Art” beautifully, followed by a white poodle jumping through a fiery hula hoop, then a great tap dancer, and then a good torch singer doing “Strange Fruit,” topped off by a rousing version of Etheridge Knight’s “All Fucked Up”?

Seventeen Years Ago Last March: Elizabeth Bishop’s Grand Finale

by Adam Fitzgerald Art
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‘Crusoe in England’ was first published in The New Yorker in 1971, then later collected in ‘Geography III,’ perhaps Bishop’s finest single volume of poems. (Only recently I discovered the title of which was suggested to her by John Ashbery. He had found a little geography textbook of the eponymous name, and sent it to her, thinking she’d rather enjoy it. Turns out, she did.)

Insomnia

by Alina Gregorian Art
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where the heavens are shallow as the sea