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Edgar Allan Poe and the Juke-Box
Uncollected Poems, Drafts and Fragments
Edited by Alice Quinn
Categories: 20th Century, American, LGBTQ+, Women
Imprint: Carcanet Poetry
Publisher: Carcanet Press
Paperback (416 pages)
(Pub. Oct 2006)
Out of Stock
From the mid-1930s to 1978 Elizabeth Bishop published some eighty poems and thirty translations. Yet her notebooks reveal that she embarked upon many more compositions, some existing in only fragmentary form but many embodied in extensive drafts. Edgar Allen Poe and the Juke-Box presents, alongside a facsimile of the notebook page 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 have heretofore 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 her to begin a poem, illustrating terrain unexplored in the work published during her lifetime, and revealing the kind of artistic resolution required for her to keep a poem, sometimes for many years, in mindful abeyance.
'Beautifully and fascinatingly annotated...you can see the great poems themselves emerging. A complete treasure-house.'
Sam Leith, The Telegraph
'For those who love Elizabeth Bishop, there can never be enough of her writing. The arrival of this trove of unknown manuscripts is therefore a stupendous event.'
Praise for Elizabeth Bishop 'Mirrors... throughout her work pretty consistently stand for the imagination... did she realise that the act of looking is always reflective? No matter how intently she searched nature for an identity, she could see only what her eye and mind perceived. Geography could provide her with no more than a reflection in the transparent glass of her own polished window.'
'You can see Klee or Vuillard in her paintings and her poetry, not because she imitated them but because she liked them and saw what they saw... As Benton says and this delightful book shows, Bishop was 'her own best influence'.'
Lavinia Greenlaw, Independent on Sunday
'Bishop's... paintings are not 'interesting' forays into an essentially alien form, nor are they divorced from the central intelligence of the poems... they come from the same extraordinary source and make a justified claim to attention in their own right.'
Jamie McKendrick, Times Literary Supplement
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