The Complete Poems, 1927-1979

Poetry's allure is its ability to capture the essence of a moment: a picture in time, an emotion, a look. More than any other American poet, Elizabeth Bishop was able to do this, as her _Complete Poems_ illustrates. Regardless of poetic form she consistently is able to distill and share her unique vision of the world. It is a pity that there is not more of her work; the poetry she left us is beautiful and brilliant.

This is a beautifully comprehensive collection of Bishop's work, complete with translations from Portuguese (she spent much of her adult life in Brazil) and verses she wrote in her youth that will be new to most readers. Bishop wrote far less than most of her contemporaries, but the work in this slim volume cements her (at least in my mind!) as one of the foremost female poets of her generation.

Elizabeth Bishop is one of the greatest American poets we've ever had--only Frost and perhaps maybe Whitman are more important. She is certainly Emily Dickinson's equal, and in my opinion, a finer poet. When discussing American poetry, Bishop can't be ignored. Her imagery, her use of form, her command over the language is rarely matched, and this collection contains all her work. There's her first book, _North & South_, which is one of the finest volumes of poetry produced. You'll find poems like "The Map," "The Man-Moth," "The Weed," "The Imaginary Iceberg," "Seascape," and the masterful poem, "The Fish." _A Cold Spring_ follows, containing "At the Fishhouse" and "Letter to N.Y." "The Armadillo" (Bishop's poem to Robert Lowell), "Filling Station," "Visits to St. Elizabeths" and "Sestina" (one of the few poems in this form that actually works) follows in _Questions of Travel_. Then there is a selection of uncollected work (1969) before we hit _Geography III_ which contains two of her best poems, "Cruso in England" and "One Art"--which is in my opinion her best poem. The collection rounds out with some more uncollected poems, juvenalia, and some fine translations. Overall, you have an important book by one of our most important poets.

No matter what sort of poetry you are drawn to--and here I include the Beowulf poet, the Metaphysical poets, the Modernists, etc.--Elizabeth Bishop can't be ignored. Her poems, from set forms like the villanelle "One Art" ("The art of losing isn't hard to master.") to the patchwork of imagery that is "The Fish" are all at the peak of expression. Bishop demonstrates virtuousity in a number of forms of poetry in this (relatively) slim volume. I especially appreciate her poems on travel and Brazil. This is a dead writer whose ideas of culture are still ahead of our time.This book is a treasure trove. It rewards multiple readings. Bishop's craftsmanship has ensured that this book will continue to endure even as bigger names of her era fall by the wayside.

Gosh, it is hard to sum up one's feelings about the poetry of Elizabeth Bishop. She is one of those artists, like Shakespeare and Mozart and Cervantes, whose work contains such perfection it seems almost sacrilegious to comment upon it.And she was ALWAYS a good poet. This volume proves it by publishing much of her juvenilia alongside more mature, better known poems as the wonderful "Florida", "Sestina", and the majestic "The Fish", a poem I enjoy teaching to my students every semester as a supreme example of imagery (I defy them to find instances of abstract language in the poem; there aren't many). Also included is an astonishing series of translations Bishop rendered over the years, mostly of South American poets, including Octavio Paz.All in all, this is a treasure trove, a book for the ages, and a reminder of what we lost with Bishop's early death at age 68.