000			03410cam a2200397Ki 4500
001			ocn957557827
005			20240726105027.0
008			160831s2016 mau ob 001 0 eng d
040			_aNT _beng _erda _epn _cNT _dJSTOR _dYDX _dEBLCP _dOCL _dCSAIL _dIDB _dUAB _dDEBSZ _dIOG _dDEGRU _dOCLCQ _dOCLCO _dTKN
020			_a9780674973121 _q((electronic)l(electronic)ctronic)
029	1		_aAU@ _b000062419419
029	1		_aCHBIS _b010903199
029	1		_aCHVBK _b483870773
029	1		_aDEBBG _bBV044239250
029	1		_aDEBSZ _b486825108
029	1		_aGBVCP _b879459263
050	0	4	_aPS3503 _b.E459 2016
100	1		_aCook, Eleanor, _e1
245	1	0	_aElizabeth Bishop at work /Eleanor Cook.
260			_aCambridge, Massachusetts : _bHarvard University Press, _c(c)2016.
300			_a1 online resource
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
520	0		_aElizabeth Bishop is now recognized as a major twentieth-century poet. She is routinely praised for her mastery of her art, yet all too often the art itself is ignored. Terms like 'quiet perfection' abound but are seldom demonstrated very far. This book looks in detail at how she works. It is meant for both readers and writers, as well as teachers, at every level, from beginning writers to more advanced, from ordinary readers of poetry to specialists. Prose writers and readers should also find useful guidelines. In showing exactly how Bishop's poems work, it suggests how our own writing and reading might learn from her. She has been compared to Vermeer, and as with his paintings, so with her poems. They can create small worlds where every detail matters. Elizabeth Bishop at Work starts with two case studies from her earliest writing, then proceeds chronologically. It shows how she shapes each collection, putting paid to any idea that her collections are random miscellanies. Alternate chapters and chapter sections focus on practical topics, starting with diction ('Elizabeth Bishop's Ordinary Diction - yes, but'), and including rhythm, syntax, genre, tone, allusion, and more. Details previously unnoticed are analyzed, such as the terza rima snaking down one poem, and what it is doing. Many poems are read in detail and their small worlds reconstructed. These details and these worlds are a necessary part of Bishop's wide point of view. They light up her life as an artist as well as her life as a whole.-- _cProvided by publisher.
504			_a2
505	0	0	_aLand, water, fire, air: two poems -- _tElizabeth Bishop's ordinary diction: yes, but ... -- _tOn the move: from New York to Key West, via France -- _tDiction on the move -- _tRhythms of a cold spring -- _tKinds of travel, kinds of home, kinds of poem: questions of travel -- _tBrief interlude on genre -- _tGeography III -- _tLate poems.
530			_a2 _ub
600	1	0	_aBishop, Elizabeth, _d1911-1979 _xCriticism and interpretation.
650		0	_aAmerican poetry _y20th century _xCriticism and interpretation.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1343346&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hPS. _m2016 _QOL _R _x _8NFIC _2LOC
999			_c86520 _d86520
902			_a1 _bCynthia Snell _c1 _dCynthia Snell