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“... he little believes, who aye in winsome life/Abides ’midst burghers some heavy business’). Elizabeth Bishop is a delight to read; Thom Gunn contributes a charming piece on surfriding; and Marianne Moore, considering the sea as a grave, has a linethe birds swim through the air top speed,            uttering catcalls as hereforethat ...”

“... In 1961, William Maxwell accepted the first story she submitted to the New Yorker, the fragrant, Elizabeth Bishop-like ‘Woollahra Road’. She published two collections: Cliffs of Fall (1963) and People in Glass Houses (1967). The latter – a series of linked stories about the UN (‘the Organisation’) – is written with a mordant, Waughish ...”

“... The surprise is that instead of lecturing on Wallace Stevens, William Carlos Williams, W.H. Auden, Elizabeth Bishop, Gertrude Stein and Marianne Moore, all of whom he acknowledges as ‘major influences’, he discusses an eclectic group of 19th and 20th-century poets who for the most part have endured long periods of neglect: John Clare, Thomas Lovell ...”

“... such friends and rivals and enemies at Vassar have become dimmer than the shades. One of them was Elizabeth Bishop the poet, always known as plain ‘Bishop’, who lived next to the John on her corridor in the college, and wrote a little poem beginning: ‘Ladies and gents, ladies and gents, flushing away your ...”

“... to a standard-issue inter-poet wadding of references to Archimedes, Bismarck, the Bible, Elizabeth Bishop, classical mythology, Coltrane, Einstein, Freud, King Lear, Marie Antoinette, Picasso, Puccini, Ramesses, Van Gogh and so forth. (One of the pleasures of earlier Lleshanaku, you realise wistfully, is the absence of such things, in the way ...”

“... storytellers like Robert Stone and Joyce Carol Oates. He got mugged by realism. He realised that Elizabeth Bowen is just as good as Virginia Woolf but without the ‘affected prose style’, and that the selling of high art is ‘just one more form of commercialism’. The break came when he was assigned to review a collection by Isaac Bashevis Singer. The ...”

“... a flourish. The ‘defining presences’ for many of these poets are, apparently, Auden, Ashbery, Bishop and Mahon. From these writers, we are told, the selected poets have learned to write ‘a poetry that understands that before it is moral, representational or empirical, it is above all sceptical.’ But first of all, the editors can’t mean both ...”

“... The earliest poem collected in Edgar Allan Poe & the Juke-Box, Alice Quinn’s edition of Elizabeth Bishop’s miscellaneous drafts and fragments, opens: I introduce Penelope Gwin, A friend of mine through thick and thin, Who’s travelled much in foreign parts Pursuing culture and the arts. ‘And also,’ says Penelope ‘This family life is not for me ...”

“... ought to like them. Stylistically, Seeing things is plain as plain, sometimes ‘awful plain’ (Elizabeth Bishop, ‘The Moose’). The gutturals of early Heaney are long gone, and now also the suave Latinity – or Latin suavity – of what one can now call his mid-period. The poems have the most pedestrian beginnings, often stumbling over ...”

“... about nature but refuses to call them ‘nature poems’. Her work is ‘full of hymns’, as Elizabeth Bishop said of her own, as well as pagan shouts and birdcalls. Oswald paints wild, stormy miniatures through which large figures lurch, blindfolded and burdened: A mouldering man, a powdered and reconstituted one, walking the same so on and so ...”

“... description more generally. Sometimes Doty describes a work of art (Murano glass, a watercolour by Elizabeth Bishop), sometimes an ordinary object (a second-hand kimono, a crab shell), sometimes a part of the natural world (beaches, horses, dogs), sometimes a man-made scene (gardens, harbours, Times Square). He recognises how fond of description he ...”

“... encased in this particular rather pleasing little casket of flesh’ – and again with a poem by Elizabeth Bishop about a similar experience just before her seventh birthday. I suspect that many children have experienced with amazement the realisation that the self with which they are so familiar inhabits a particular public human being. The book is ...”

“... on themselves: do I matter? It is a reaction to the totality presented in the poems. This is what Elizabeth Hardwick heard in Plath’s 1962 BBC recordings, and we must trust the diamond-hardness of Hardwick’s ear, sending out its ray like Marco’s stickpin in The Bell Jar:I was taken aback by Sylvia Plath reading. It was not anything like I could have ...”

“... This tradition was established by Emily Dickinson and her followers: H.D., Louise Bogan and Elizabeth Bishop. It is a tradition predominantly, though not exclusively, of women poets; the opposing tradition of ornate or discursive amplitude has been predominantly male (Whitman, Crane, Pound, Eliot, Ginsberg). Wariness and rigour characterise this ...”

“... of the translations are by Weinberger himself, but there are also versions of individual poems by Elizabeth Bishop, Paul Blackburn, Denise Levertov, Muriel Rukeyser and Charles Tomlinson. In the notes Weinberger has glossed allusions, and brought together, as my quotations have suggested, an illuminating set of comments by Paz himself. Paz’s recurring ...”