{"id":13092,"date":"2011-03-18T09:44:49","date_gmt":"2011-03-18T13:44:49","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=13092"},"modified":"2011-03-18T09:48:37","modified_gmt":"2011-03-18T13:48:37","slug":"the-wilde-boys-read-elizabeth-bishop","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2011\/03\/18\/the-wilde-boys-read-elizabeth-bishop\/","title":{"rendered":"The Wilde Boys Read Elizabeth Bishop"},"content":{"rendered":"
\"\"

Elizabeth Bishop in 1954. <\/p><\/div>\n

Elizabeth Bishop<\/a> only published about one hundred poems during her lifetime, but these days, it\u2019s possible to know more about Bishop than ever before. Last month saw the publication<\/a> of a new book revealing her decades-long correspondence with The New Yorker<\/em>\u2019s poetry department. \u201cWhat I think about The New Yorker<\/em>,\u201d she wrote to her friend and fellow poet Marianne Moore, \u201ccan only be expressed like this: *!@!!!@!*!!\u201d A lengthy volume documenting her epistolary exchanges<\/a> with Robert Lowell was published in 2008. It\u2019s easy to forget that Bishop was a very private person, often refusing to talk publicly or artistically about her personal life. \u201cHow stunning,\u201d wrote<\/a> The New York Times<\/em>, in 2002, of a Bishop biography, \u201cto learn that the love of Bishop\u2019s life was a swaggering Brazilian woman, the aristocratic self-trained architect Lota de Macedo Soares.\u201d \u201cArt just isn\u2019t worth that much,\u201d Bishop once wrote to Lowell, after he had published his wife\u2019s letters in his work. But for admirers and diehards alike, sometimes an inquiry is.<\/p>\n

And so I found myself at a gathering in a downtown apartment last week for an event called the Wilde Boys: a queer poetry salon, where Richard Howard, who knew Bishop, and his former student Gabrielle Calvocoressi, the author of Apocalyptic Swing<\/em>, were invited to \u201cqueer\u201d the writer by talking about the way she coded sexuality into her work.<\/p>\n

Beforehand, there was heavy mingling. \u201cWe\u2019re all poets and classmates, and graduated from different M.F.A. programs in New York around the same time,\u201d said Alex Dimitrov, the well-groomed twenty-six-year-old who founded the group in 2009. Liam O\u2019Rourke, an elementary-school teacher who was wearing a pin with a black-and-white photograph of Bishop on it, said he teaches Bishop to his third graders. \u201cI mention that she had a partner, but I don\u2019t teach her sexuality as a key to her work,\u201d he added.<\/p>\n

At eight o\u2019clock, Dimitrov began the discussion by questioning Bishop\u2019s approach. \u201cWe\u2019ve talked a lot in the past about how male writers code queerness, but we haven’t been successful in thinking about how female poets do it,\u201d he said.<\/p>\n

\"\"

Richard Howard reading. Photograph by Star Black.<\/p><\/div>\n

\u201cYou couldn\u2019t figure out how female poets do it?\u201d teased Calvocoressi. Howard, who wore a black-and-white checked tie with matching socks and eyeglasses, responded by describing a moment he shared with Bishop in Cambridge. \u201cShe was showing me around her new house,\u201d he said. \u201cIt was just after she had moved up there. She pointed out door after door, and she kept saying, \u2018Closets! Closets!\u2019 It was a moment of great triumph.\u201d<\/p>\n

Calvocoressi recalled that her first introduction to Bishop\u2019s work was as an employee at a failing bookstore in central Connecticut, where she was paid in books. \u201cI picked up a really bad collection of poetry one day\u2014<\/em>actually, I took a class with the poet later, and she was not a good poet\u2014<\/em>but the epigraph was from \u201cSantar\u00e9m<\/a>\u201d: \u2018I liked the place; I liked the idea of the place.\u2019 \u201d For many years, Calvocoressi admitted, she misread Bishop as a surface poet, as a writer who was fundamentally stable. Howard, a professor, nodded. \u201cElizabeth Bishop was always making an effort to use the right words, but was convinced that they were possibly not the right ones,\u201d he said.<\/p>\n

A young man sitting in an armchair asked about an Adrienne Rich essay<\/a> from the eighties and suggested reading the poem \u201cInsomnia.\u201d \u201cIt has all the inversions and questions we talk about,\u201d he said. After he finished, there was a pause.<\/p>\n

\u201cThe word body<\/em> appears,\u201d Dimitrov offered. \u201cThat doesn’t feel like a very Bishop word.\u201d<\/p>\n

\u201cThe notion of dwelling on the mirror as a romantic act is so remarkable,\u201d said Howard. \u201cThat\u2019s where the poem really opened for me. I felt that way when you came upon that phrase.\u201d<\/p>\n

\u201cWhat was the name of that essay?\u201d asked Calvocoressi.<\/p>\n

The young man sighed. \u201cI don\u2019t know, but I can look it up on my iPhone,\u201d he said.<\/p>\n

Howard launched into another story, about a joint reading with Bishop in Chicago. \u201cElizabeth and I were in a station wagon. We were sitting as far apart as the station wagon would put us, and she was looking out her window and probably thinking, \u2018I have to read these goddamn poems one more time \u2026\u2019 \u201d The two writers sat like this until they passed a little diner. \u201cIn the window, there were neon lights that said ALL YOU CAN EAT: ANY TIME DAY OR NIGHT<\/small>. She read that and turned to me and said, \u2018All you can eat \u2026 any time \u2026 day or night. Gobble, gobble, gobble!\u2019 \u201d<\/p>\n

Talk veered inevitably to \u201cThe Shampoo<\/a>,\u201d which Calvocoressi read out loud. \u201cThere\u2019s a physicality to the language,\u201d said Dimitrov. \u201cEspecially in the adjectives she uses to describe her lover: precipitate<\/em> and pragmatical<\/em>.\u201d Calvocoressi agreed. \u201cThe way she compares the basin to a battered and shiny\u2014\u201d<\/p>\n

\u201cMoon!\u201d interjected Howard, to murmurs.<\/p>\n

The New Yorker<\/em>\u2019s rejection of the poem was invoked. \u201cThey didn\u2019t understand it,\u201d Calvocoressi reasoned. \u201cThey were asking \u2018Who are you speaking about? Who are these people?\u2019 It\u2019s not a New Yorker<\/em> type of poem.\u201d<\/p>\n

After a period of thoughtful silence, a young man in a blue shirt spoke up. \u201cWhy don\u2019t we read a more neutral poem?\u201d he asked, and suggested \u201cNorth Haven<\/a>,\u201d Bishop\u2019s elegy to Robert Lowell from 1978.<\/p>\n

Howard smiled. \u201cI\u2019d be happy to read that one,\u201d he said.<\/p>\n

Nick Liptak lives in Brooklyn and works at <\/em>The New Yorker.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Elizabeth Bishop only published about one hundred poems during her lifetime, but these days, it\u2019s possible to know more about Bishop than ever before. Last month saw the publication of a new book revealing her decades-long correspondence with The New Yorker\u2019s poetry department. \u201cWhat I think about The New Yorker,\u201d she wrote to her friend […]<\/p>\n","protected":false},"author":139,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[2005,629,2004,2006,165,469,53,2003,630,2002],"class_list":["post-13092","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-alex-dimitrov","tag-elizabeth-bishop","tag-gabrielle-calvocoressi","tag-marianne-moore","tag-poetry","tag-queer","tag-reading","tag-richard-howard","tag-robert-lowell","tag-wilde-boys"],"acf":[],"yoast_head":"\nThe Wilde Boys Read Elizabeth Bishop by Nick Liptak<\/title>\n<meta name=\"description\" content=\"March 18, 2011 \u2013 Elizabeth Bishop only published about one hundred poems during her 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