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Edgar Allan Poe & The Juke-Box: Uncollected Poems, Drafts, and Fragments, by Elizabeth Bishop
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From the mid-1930s to 1978 Elizabeth Bishop published some ninety poems and thirty translations. Yet her notebooks reveal that she embarked upon many more compositions, some existing in only fragmentary form and some embodied in extensive drafts. Edgar Allan Poe & The Juke-Box presents, alongside facsimiles of many notebook pages from which they are drawn, poems Bishop began soon after college, reflecting her passion for Elizabethan verse and surrealist technique; love poems and dream fragments from the 1940s; poems about her Canadian childhood; and many other works that heretofore have been quoted almost exclusively in biographical and critical studies.
This revelatory and moving selection brings us into the poet's laboratory, showing us the initial provocative images that moved Bishop to begin a poem, illustrating terrain unexplored in the work published during her lifetime. Editor Alice Quinn has also mined the Bishop archives for rich tangential material that illuminates the poet's sources and intentions.
- Sales Rank: #535566 in Books
- Brand: Bishop, Elizabeth/ Quinn, Alice (EDT)
- Published on: 2007-03-06
- Released on: 2007-03-06
- Original language: English
- Number of items: 1
- Dimensions: 8.93" h x .98" w x 6.09" l, 1.24 pounds
- Binding: Paperback
- 400 pages
From Publishers Weekly
Starred Review. This book is as much Alice Quinn's as Elizabeth Bishop's. The New Yorker poetry editor spent countless hours with the 3,500 pages of Bishop (1911–1979) material housed in the Vassar College library, and particularly with two notebooks that contain drafts from the period 1936–1948, which, Quinn says in an introduction, furnished the "kernel" of the book. None of the material (aside from "One Art," of which 16 drafts are included as an example of Bishop's exacting process) was marked by Bishop for publication but, as Quinn notes, much of it has been quoted extensively by Bishop scholars. Quinn, who also directs the Poetry Society of America, hopes this volume "will provide an adventure for readers who love the established canon," and it is, indeed, a fan's book. But it also contains some terrific lines and images; a few fully realized poems that will eventually enter the Bishop canon; and a delicious look into Bishop's thinking and composition—seeing a bad Bishop poem is a revelation. There are 108 poems (seven less than the Collected), 11 prose pieces, the "One Art,"some sketches and other visual art, drafts and 120 pages of Quinn's excellent notes. Some of the poems are fragmentary; many contain Bishop's own question marks and possible substitutions; all will be cherished by those who love her work. (Feb.)
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Review
“You are living in a world created by Elizabeth Bishop . . . nothing matches the impact of a great artist, and in the second half of the 20th century, no American artist in any medium was greater than Bishop (1911-79). That she worked in one of our country's least popular fields, poetry, doesn't matter. That she was a woman doesn't matter. That she was gay doesn't matter. That she was an alcoholic, and expatriate and essentially an orphan-none of this matters. What matters is that she left behind a body of work that teaches us, as Italo Calvino once said of literature generally, 'a method subtle and flexible enough to be the same thing as an absence of any method whatever.' The publication of Edgar Allan Poe & the Juke-Box, which gathers for the first time Bishop's unpublished material, isn't just a significant event in our poetry; it's part of a continuing alteration in the scale of American life . . . Quinn's notes throughout are superb . . . This is the devoted editing this material needed and deserved.” ―David Orr, The New York Times Book Review (cover review)
About the Author
Elizabeth Bishop (1911-79) won the Pulitzer Prize, the National Book Award, and the National Book Critics Circle Award.
Alice Quinn is poetry editor of The New Yorker and the director of the Poetry Society of America.
Most helpful customer reviews
29 of 32 people found the following review helpful.
The Making Of A Poet
By C. Hutton
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.
5 of 6 people found the following review helpful.
Gems from among the leavings
By John Matlock
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.
0 of 0 people found the following review helpful.
Poet's desk
By Mary E. Sibley
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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