Reading multiculturalism: contemporary postcolonial literatures editors Ana Bringas Lépez Belén Martin Lucas YP Finan Teoriss da DiferenciaEdita: Feminario Teorfas da Diferencia, Universidade de Vigo. LS.BN.: 84-699-3485-6 Depésito legal: VG-819-2000 Imprime: Torculo Artes Gréficas S.A.L. rria de Alvaro Cunqueiro, 3 baixo. 36211 VIGO Telf: 986 21 34.56Reading Multiculturalism: Contemporary Postcolonial Literatures Contents Introduetion....... ee Reading resistance. : ——— “An Approach to Post-Colonial Spanish Literature: Donato Néongo's Las tinieblas de tu memoria negra” Marta Sofia Lépez Rodriguez. “Wars of Words and the Peace Process: Sean O'Faolain and the Rewriting of Irish Society” Alfred Markey. ; “Leslie Marmon Silko’s‘Lallaby’: The Power of Resistance and Healing Force to Cultural and Spiritual Genocide” Olga Bartios “Unity in Diversity: Nationalism, Multiculturalism and Globalisation in Malaysian Anglophone Women’s Writing, 1940s-19903" Nor Faridah Abdul Manaf..... : “Fragmented Identities, Tentative Gods” Joana Vilela Passos, - Reading the migrant self....... ——— “How to Read the Other: A New Perspective in Post-colonial Studies” Susanne Pichler. “The Colonial and the Longing for Objectivity: ‘izabah Bishop's Bean Posrs apd het Tensions from the Pornigcse™ Burghard Baltrusch. “White Mistress vs. Black Slave: Competing Racial Discourses in Caryl Phillips's Cambridge” Pedro Carmona Rodriguez. “When the World Becomes a Big Blur’: The Enigma o° Arrival in Contemporary Caribbean Literature” Jesis Varela Zapata “Transcultural Formations: From Tialian to Talian Canadian in Nino Ricei’s Lives of the Saints” Rosalia Baena Molina. u 13 19 33 “al vn 31 6 B {11Contens “Literary Production and the Politics of Multiculturalism in Australia: The Case of Greek-Australian Poet Dimitris Tsaloumas” Helen Nickas ' vo 97 Reading cultures in conflict ssn 105 “Growing Up Between Two Cultures? The Next Generation” Alyce von Rothkireh.... 107 “The Laundry and the Restaurant: Judy Fong Bates’ Stories oF the Chinese. Canadian Communit Pilar Cuder Dominguez. se iy “Black Settler Writing in Multicultural Canada” Linda Warley. v= 125 “Representation and Native ‘American Cultural Sovereigmy. Some, Case Studies” David Murray. 137 “Conflicting Viewpoints: ‘Tradition and Change in Tracks by Louise Erdrich” ‘Mar Gallego Durdn. a : 145; Reading the gendered sel. sn ISB “The In-Betweens: (Post)Colonial and (Post)Nationalist Imagery in Ireland” Luz Mar Gonzalez Arias, 155 “-Woman, an ‘enslaved/enclave’. A Reflection on the Intertex: of Feminine Personal Histories and Cultural and Political History Focusing on Two Contemporary Portuguese Texts: Novas Cartas Portuguesas and Dores by ‘Maria Velho da Costa” Aa Gabriele Maced0,oocsnsessns oy “The Dress is a Text: Amma Darks Beyond the Horizon” ‘Maria Frias, 17 “Mothers and Daughters: Present Conflict Inside and Outside the Colonic Beatriz Dominguez Garcia... 187 “Negotiating Differences: Female Dialogies and Cultural Hyaridsation in Amy Tan's The Joy Luck Club and Arlene J. Chai's The Last Time I Saw Mother” Sonia Villegas Lépez.. 195‘The Colonial and the Longing for Objectivity; Elizabeth Bishop’s Brazilian Poems ‘and her Translations from the Portuguese ‘Burghard Baltrusch Universidade de Vigo Nowadays, Elizabeth Bishop (1911-1979) is already considered an icon in the history of women literature in the United States. Her “resistances to literary culture, to poetic movements, to facile labels and categorizations” (Rosenbaum 6), her “difficulty to speak directly of her sexuality” (McCorkle 13), her emancipation from stereotypic wornanhood” (Goldensohn 69), an her rejections of “male defined structures” in poetry (Huang-Tiller 4) have been largely recognized, The “political dimension” (Raab) of her “awareness of the pastiche (quality of colonial and postcolonial culture” (Shifrer 2) is commonly praised. T would even go so far as to postulate that Bishop's poetry gene-ated a modern “feminine sublime” in the way Freeman (1995) tried to define it” Nevertheless, T claim, as do some postmodern critics, thatthe separation between aesthetics and ethics isa fallacy (see Zylinska 104; Welsch 1991), and that the postcolonial point of view forces us to deconstrue established literary fame from time 1 time. When Bishop lived in Bravil inthe fftiot and sixties, the country started 10 feel the explosive expansion of European and American industry. Topics like fetishism of machinery, mystification of means of communication, technocracy, capitalism, racism, cold war and nuclear power led to vivid detates among the inelligentsia of the Brazil of those days. Structuralism and formalism emerged, theories on how to renew the Portuguese language, how 10 establish an individualized Brazilian language circulated, and the Brazilians responded in quite ‘a number of ways.to those challenges of the modern world and its culture (For instance, by means of the concrete poetry) However, it was also the time of enormous alterations to the social structure, The gap between increasingly industrialized cities and a hopelessly underdeveloped country, between rich and poor, started growing at a frightening ‘We might even consider her wrings asthe stempt ofan esthetic ofthe “broken mila” between the “obsolete hieareleal category expressive ofthe bourgeois individual lf" and the oman ‘experiences and their "representation of medion” (Armszong 9), 6Burghard Baltrusch pace, The social unrest of the workers in the fifties, growing inflation, the conservative interests and the influence of industrial lobbies were already foreshadowing the military coup that took place in 1964. ‘The result was a centralized control, a strengthened state apparatus, and the suppor: of the needs of a few privileged groups in power. Bishop's ideas of these troubled times have been much more superficial and distorted, than most of the critics would like to admit. Her impression of tarmonious race relations in Brazil, for instance, which she stted in her Brazil book edited by the Life magazine in 1962 (114), was completely misleading. She seemed not to have noticed that the Afro-Brazilians and the natives were not represented in the middle and upper classes. The superficial tolerance, which appears to have impressed her, was embedded in economic and political discrimination. Although having been in Brazil helped her get acquainted “with another perspective on what ‘American’ means to non-Americans” (Raab 5), and although it confirmed her “own skepticism about social and poliical issues in her county of citizenship" (5), it did not help her look beneath tne surface of the extemal appearance of Brazilian society. Passages that contained political and ethical commitment were omitted from her Brazil book. One of them warmed that the U.S, should give “more to Brazil than loans and those less attactive features of| cur culture that are thought to be ‘americanizing’ the world” (Papers, see Raab 6). But in another deleted chapter she adventured a strange thesis which exemplifies her superficial perception of Brazilian reality because of the lack of a middle class, because this country has been divided between the very few rich and the many poor for so long, it is more democratic, in the popular sense of the word, than many other countries. ‘There is little or no awareness of the insidious degrees of class feeling. (Papers) Despite the incongruencies of her political and social awareness, it might seem rather strange that Bishop's poetry written in Brazil, waich in fact does express some social concern, does so in quite a harsh and inverted manner. There are snapshots of momentary and very personal emotions —which are stylistically extremely skilful, However, these poems could also be regarded as embarrassed glimpses at the outcomes of social injustice, made from an ivory tower. Bishop never picked out causes as central themes of her poetic depictions of Brazilian reality. Thus, poems like “Squatters Children”, “Manuelzinho” and “The Burglar of Babylon”, are descriptions that, in spite of their formal beauty, remain at an aristocratic distance from their subjects. This hiding of emotional tracks by formalistic or symbolistic transactions and inversions is held to be a very common technique in Bishop’s work. Still there are a few moments where she «2‘The Colonial andthe Longing for Objectivity: Elizabeth Bishop’ Brazilian Poems and her Translations from the Portuguese overcomes that distance and partly realizes her status of indirect “complicity in social evil” (Vendler 832), like in “Manuelzinho”: I watch you through the rain, trotting, light, on bare feet, up the steep paths you have made - fr your father and grandfather made - all over my property, ‘with your head back inside a sudden burlap bag, and I feel I can’t endure it another minute. (1984:96) Yer, even then the speaker is hiding behind the mask or being sheltered by a friend, who is said to be speaking here. The personality of the distant observer does not want to become involved in the realities described. One could, of course, argue that the continuous dissociation from the depicted object was due to the impact of the strange and the exotic. Something that, ‘on the one hand, attracted her visual sensitivity but, on the other hand, impeded her from exploring it any further. This reinforces the idea of Bishop having been a stranger almost evetywhere she lived, which is stressed by most critics. Her youth 1s an orphan, her continuous travels, and the preponderance of geographic themes in her poetry are generally used to underline this supposed feature of her personality. Nevertheless, it seems to me that this aspect has been stressed excessively. ‘That she lived for almost twenty years in Brazil supposes that she must have become quite accustomed to this country, otherwise she could have always gone somewhere else. Considering her excellent knowledge of the Portuguese language it seems perfectly reasonable to assume that she was at least linguistcally prepared 10 cope with a highly contradictory society. At first glance it appears, indeed, to have been the outsiders who troubled her mind most, In “Going to the Bakery” we read: In front of my apartment house a black man sits in a black shade lifting his shirt to show a bandage on his black, invisible side. [ give him seven cents in “my” terrific money, say “Good night” from force of habit. Oh, mere habit! [Not one word more apt and bright? (1984:152) 6Burghard Baltrusch Having bought bread and returning to her own comfortable apartment, the poet wonders about her inability to find appropriate words to address a hungry and hhomeless Afro-Brazilian, Nowadays, readers would associate more than just linguistic concerns: social injustice, inadequate politics, racial prejudices, disadvantages and discrimination. The question might, of course, 5e whether it is only our diachronically distorted perspective and the preference for ethic impulses in aesthetic depictions of realty that render the impression of Bishop's “social” poems either a little naive or marked by rather forced emotions. This obsession with objects and objectiveness, which she even taught as a poetic model (see Wehr 837), sometimes makes her poetry appear cold and excessively formal. The poetic ideology behind is founded on Eliot's “poetic of impersonality”. Like her modernist predecessor, Bishop rejected romantic yearning for originality and individuality. Her supressed feminist and lesbian tendencies, which today critics like to refer to, might as well be seen just as a behaviour that fallowed a specific poetic tradition. Eliot's “dissociation of sensibility” thesis fits most of Bishop's poetic work. She also handled poetry not as an expression of emotion and personality, but as an escape from both. Her poem “The Map” offers an example of her rejection of recreating reality by observing and describing it emotionally ‘The names of seashore towns run out to sea, the names of cities cross the neighboring mountains —the printer here experiencing the same excitement as when emotion too far exceeds its cause. (1984:3) Bishop's “repugnance for social or political or religious association”, and her “preference for mapping and abstraction” (Vendler 837), must not be seen exclusively as a repugnance for the sexual, the passionate or the emotional. At least as far as her situation in Brazil is concerned, there must also have been a considerable impact of popular eulture on her state of mind, For many cultural communities in Brazil reality has stil got a mystical value. Bishop proceeded from a society whose ancestral metaphysical values had already been demystified or had been unified with christianity’s rationalism. Bishop seldom alludes to this cultural gap, and very litle to the colonization with white values that was taking place." To a certain extent she remained loyal to her U.S. “liberal” middle-class mentality, with its then still even more conservative and stereotyped attitudes, She spent most of her time in Brazil with middle and upper class people, although she is reported to have had some contact with the lower classes. Yet, according to her “social” Poems, this contact seems to have been reduced to short and momentary clashes with a strange if not alien world * One of her few social poems that show some emotional impact and concern with colonization problems, although in a satirical way wi its distance between speaker and theme, is “Pink Dog” Up tothe last But one stanza it seems to convey nothing bt biter sarcasm and only the apparently by-the-way allegory ofa larger context makes it real satire (1984:191), 6‘The Colonial and the Longing for Objectivity: Elizabeth Bishop's Brazilian Poems and her Translations from the Portuguese ‘The ambiguity in her concern for the marginalized and the underprivileged, clearly comes out in a poem from 1969, “House Guest” Her fave is closed as a nut, closed as a careful snail or a thousand-year-old seed, Does she dream of marriage? (OF getting rich? Her sewing is decidedly mediocre. (1984:149) The subordinate seamstress is coldly observed and described with the uncomprehending undertone of a stiff middle class attitude. At the same time it offers an example of how her continuously attempted objectivity fails, and turns out to be the contrary (see also “A Norther—Key West"), Another example is “Faustina” (1984:73-74) which alludes to Bishop's experiences during her nine ‘month's stay in Mexico. The “unimaginable nightmare” of a whité woman, who is afraid 10 die, is equalled here to the “lifelong dream” of freedam of the black ‘woman servant and with the immanent “tradition” of racial suppréssion and social injustice. The colonial touch in the poetic attitude is continued by contemporary critics, who are mostly satisfied with these “extremes defined from a white woman's perspective but at least acknowledging the “acuteness of the question” (Anon, 152). That “acuteness of the question” sounds more like the “unrelenting oratory” of “politician's speeches” she characterized so humorously in “Questions of Travel” (1984:94). Moreover, this question that “forks instantly and starts / a snake-tongued flickering” rather sounds as ifthe speaker felt plagued by it, as if she was haunted by doubts about her own attitude. She even seeks the complicity of the white colonial reader, without being able to avoid that not “ours” but her “problems fare] becoming helplessly proliferative” —the attempt to be objective fails again Bishop developed out ofa sense of “physical accuracy” (Paton 10) a strong longing for objectivity in her poctry in the tradition of Elio’s “objective correlative” (10). It is only when the “emotional ait" (11) is to embody social, racial and colonial patterns that her formalism fails. Obviously, she did not feel prepared to break, with this kind of expressionist tradition, although in Brazil she found herself in the best environment that one could think of for this purpose ‘The background of her “social” poetry remains either ambiguous or fat, as in he “Burglar of| Babylon”: “On the fir green hills of Rio/ There grows a fearful sin: /The poor who come to Rio 1 And can't go home again” (1984112). The logical chain reaction is perfectly wellrendered ito & ‘hyming ballad patra, but the causes are got oven hinted a. Eg: The poor came to Rio, because all the feile land helonge torch landowners who used it principally for pasturing and who drove le farmers out or killed them; and since military and capitalist groups were ganing more and ‘more politcal power, the police were encouraged to make an example of as many petyeximinals ‘fom te lower clases inorder to nip any social unrest in the bud. 6Burghard Baltrusch Besides, she personally knew modernist poets who strongly influenced a ‘movement that broke almost radically with is literary past. Ever among the poets she chose for translations from the Portuguese were socially and politically ‘engaged people. Thus, inthe poetry of Carlos Drummond de Andrade (1902-1989) Bishop could have found an “alter ego, a voice quite different from her own” (Paton 12), as well as affinities with her own work. Andrade was the first outstanding Brazilian poet after the initiation of Brazilian modernism, which started with the “Week of Modem Art” in 1922. Artists and poets tried to convey their impressions of European futurism, expressionism, and surrealism to a wider public. Andrade went through quite different stages: up to the end of World War I, for instance, he was called the “public poet” for being politically engaged against fascism and social injustice, and for favouring socialism, Under the influence of cold war, arising capitalism, and the technocracy of the western world he became disillusioned and his poetry turned to be metaphysical, Later on, his poetry became even more concrete and formalistic than it already was. He avoided using adjectives more and mote, and initiated a kind of objectual poetry. ‘That must have been what attracted Elizabeth Bishop. Te “objectualness” in his poetry was sometimes even more radical than in hers. Furthermore, it was not built up by imagery, but by concepts, without being too “bookish” and formally undisciplined, nor was it ever sentimental. However, that did not impede him from professing a poetry that a wide public could understand (1964:36). Throughout his poetic life he tried to find a compromise between objectivity and social engagement, His success was in a great part due to the fact of being embedded in a general and enthusiastic modernist movement, that had a certain impact on Brazilian society. The ethic and aesthetic security these Brazilian modernists could derive from their succoeding literary revolution must have been extremely attractive for a foreign poet whose poetic ideas were already sympathizing with the aesthetic background of this movement. Bishop translated seven of Andrade's poems, but none of the “political” or “social” ones. Obviously, she was exclusively interested in his objectual patterns, cutting out those that were alien to her personal poetic. One of them can be regarded as Andrade's most famous one: “No meio do caminho” No meio do caminho tinha uma pedra tinha uma pedra no meio do caminho tinha uma pedra 1no meio do caminho tinha uma peda, Nunca me esquecerei désse acontecimento pa vida de minhas retinas to fatigadas.‘The Colonial and the Longing for Objectivity: Elizabeth Bishop's Brazilian Poems and her Translations from the Portuguese Nunca me esquecerei que no meio do caminho tinha uma pedra tinha uma pedra no meio do caminho no meio do caminho tinha uma pedra. (Andrade 1964:203) “In the middle of the road” In the middle of the road there was a stone there was a stone in the middle of the road there was a stone in the middle of the road there was a stone. Never should I forget this event in the life of my fatigued retinas. Never should I forget that in the middle of the road there was a stone there was a stone in the middle of the road. . in the middle of the road there was a stone. (Bishop 19842359) Written in the first period of Brazilian modernism, although it was not published until 1930, this poem provoked an adversary debate among modernists and anti-modernists, The latter rejected it furiously because of its simplicity, its repetitions, and because its logical value could be reduced to three verses. As an offence to the harmony and the melody of romantic and traditional poetry, it became a poem with an enormous modernist value in Brazil. The industrial revolution, rationalism, the end of World War I, and the imminence of another ‘would later on lead to i literary current that expressed the nausea caused by these historical and intellectual evolutions. That is exactly what the poem foreshadowed: ‘monotony, the feeling of being bored to tears. This general feeling of nausea could be adapted by any reader to her/his particular needs and emotions. That is furthermore helped by the absence of too many adjectives and adverbs, and by the innumerable connotations of the words “stone” and “road” in literary contexts. ‘The inadequacy of Bishop’s formalism to cope with the formal and cultural ‘complexity of Brazilian modernism can be observed in her translatien of this poem, ‘comparing it with another version by John Mist: “In the middle of the road” In the middle of the road was a stone ‘was a stone in the middle of the road was a stone in the middle of the road was a stone. oBurghard Baltrusch T shall never forget that event in the life of my so tired eyes. 1 shall never forget that in the middle of the road was a stone was a stone in the middle of the road in the middle of the road was a stone. (Mist 15) ‘The main difference between the Bishop and the Mist translations are “there was / was", “Never should I forget / I shall never forge”, and “fatigued retinas / so tired eyes”. A correct translation of the Portuguese verb “ter” (“to have") used in the meaning of “to be” (which is grammatically incorrect and occurs ‘only in spoken Portuguese in Brazil, and which was another reason why this poem was attacked by some critics) is simply impossible. The translators had to choose between two almost equivalent terms, The only but decisive difference is that Mist's colloguialized version (“was”) does not alter the important monotony of the rhythm of the poem, as much as Bishop's grammatically corrected form (“there \was"). The option between “Never should I forges” and “shall never forget” is not easier either. ‘Apart from the linguistic incoherences, Bishop's translations reveal an incomplete knowledge of the respective cultural and social background of the source language. That is why she uses, for instance, a different level of style in a stanza of her translation of Andrade’s “Poema de sete faces” (“Seven-sided poem”): Meu deus, por que me abandonaste se sabias que eu nao era Deus se sabias que eu era fraco. (Andrade 1964:9) My God, why hast thou forsaken me if Thou knew'st I was not God, ‘Thou knew’st that I was weak? (Bishop 1984:243) Unlike the original, where the language is that of spoken Portuguese, Bishop applies Middle English expressions in allusion to the biblical style. She leven changes the state of mind the speaker expresses by tansforming the final stop fever should I forget” is a more tral wanslation, as far asthe syntax is concerned, but it sounds rather to postin comparison to the completely normal syntax pattern of the Portuguese ocginal (On the ther hand, the Mist wansaton changes the rhythm ofthe original, because he sires s not at the beginning ofthe phrase as it shoud, but at the end ("Nunca me esquccee” vs." shall never forget”). Finally, the “so ized eyes” ofthe Mist wanslation are a simplification of the original ‘whereas tho "atgued retinas” omit de particle “a” ("so"), although it prserves the elaborate cde ofthe ergial phrase, 65‘The Colonial and the Longing for Objectivity: Elizabeth Bishop's Brazilian Poems and her Translations from the Portuguese in the original Portuguese into a question mark. Her formalistic concerns tempted her to alter the original and even encouraged her to attempt to improve it.” In spite of all her skillfullness and secure handling of language and form, it is generally the emotional level which is not: rendered correctly. In Bishop's twanslation of Andrade’s “Nao se mate” (“Don't kill yourself”) a critic tried t0 identify a “sudden rise in temperature” that “produces a different kind of weather” (Moss 33). From this he derived later on that “having been pigeonhled for so long ‘as a cool customer, Bishop is ladylike but tough, but also much warmer, much more involved in life than a mere map-maker or tourist guide” (32). Leaving the white heterosexual male stereotyped discourse apart, the “different kind of ‘weather” she indeed produces in her translation is a distorting one. In the second stanza she lifts the undertone of her translation on to a level, which is too emphatic: Intl voce resistir ‘ou mesmo suicidar-se. Nao se mate, oh no se mate, reserve-se todo para as bodas que ninguém sabe quando virdo, se € que virdo. (Andrade 1964:167) uu It’s useless to resist or to commit suicide. Don’t kill yourself. Don't kill yourself! Keep all of yourself for the nuptials ‘coming nobody knows when, that is, if they ever come. (Bishop 1984:245) ‘The original tries to convey an almost epicurean attitude, and its rhythm is a monotonous up and down, always within the limits of epicurean ataraxy. ‘The * Here aguin, contemporary citcim has continued and insttutinalized the (unconscious) colonial atitudes ofan author: éigcussng Bishop's translation of a sonnet by Vinicivs de Moraes, Ashley ‘Brown suggests thatthe author could not ave been “as gracefully colloquial as Elizabeth i in the last ines of the sonnet” (701), In these ines th speaker includes the cows, which are standing around him, when affirming: "Nés todos, animals, sem eomogéo nenhuns / Miamos em comum ‘numa fesia de espuma”. And Bishop translates: “All of ws, animals, unemoionally / Parake together ofa pleasant pss” (1984-262), Literally rendered it would be: "We all animals without any commotion /Pss {end not “urinate™ as Brown suggests} together ina festival of foam [and not “xpray" as Brown suggests. The Bishop version is by no means more graceful tan the literally rendeted one, since it inadequately transfers te collogial language ofthe erga into a diferent Giasratic form ("partake", “pleasant”), complicating is melody, due to the lacking internal and tending rhyme in English (vx. por. “comum ~ numa" “nenhuma -espuma”). The only aspect that ‘ould make ws think of Bishop's analaion being more “graceful” than the oxigial might be the ‘contrast ofthe colloguial “ist” and the more elaborate “perake” and “pleasant”, However, this is 8 ‘completely different kindof “gracefulness" than that intended by the authorBurghard Baltrusch changed punctuation and the omitted particle “oh” (which is meant to reinforce the calm, stoical suffering of the speaker) brings in a passion that runs against the general tone of meaning in the original. Bishop's Brazilian poems and her choices for translation reveal “more diffuse sympathy for the oppressed than definite anger at the oppressor”, and therefore she “concentrates on manifestations rather than roots of social evil” (Slater 35). Her choice of the Brazilian poems with social concer for translation strengthens this impression. Out of an enormous variety between hermetic and politically and socially engaged poetry, she only chose those that appeal to the sentimental vein (see 1984:233-239 or 232). It is therefore nét surprising that Bishop did only respond to the more moderate protagonists of Brazilian modernism, and not to their radical heirs as it were the fallowers of the concrete poetry, for example. Still, many critics ike to overestimate the engagement in her poetry (Slater 35 and Raab). During her years in Brazil, she witnessed not only Kubitschek’s megalomaniac dream of a glorious Brazilian future, but also the military coup against the leftist Goulart who had tried to reduce the social injustice. In spite of, these circumstances, her Brazilian poems express a sometimes too superficial willingness to accept the status quo against her own convictions. There is certainly some inherent judgement and criticism, but that is often weakened or even suspended by picturesque scenes, or descriptions, which border the pedantic. Her personal conditions might have been an unfavourable mixture of her too sotid ‘middle-class background and a perhaps unbalanced emotional life. Torlinson’s harsh judgement that the “better-off have always preferred their poor processed by style” (1966:696), might be too cruel where Bishop is concerned. but it has some ‘ruth init Works cited Andrade, Carlos Drummond de. 1964. Obra Completa. Rio de Janeiro: Aguila. ‘Andrade, Carlos Drummond de. 1967. Uma pedra no meio do cantinho - biografia de um poema. Rio de Janeiro: Author's edition. [Anonymous] 1983. “The eye of the outsider: E. Bishop's Complete Poems 1927-1979 (1983). Boston Review, April, 15-17. Armsirong, Isobel. 1998. “Writing from the Broken Middle: The Post-Aesthetic" Women: A Cultural Review 9.1, 62-96. Bishop, Elizabeth, 1984. The Complete Poems 1927-1979. London: Penguin. Bishop, Elizabeth. The Elizabeth Bishop Papers. Vassar College Library, Special Collections. http:/iberia.vassar.edu/bishop. Bishop, Elizabeth, 1962, Brazil. New York: Time Incorporated, Brown, Ashley. 1977. “Elizabeth Bishop in Brazil”, Southern Review 13, 688-704, 7‘The Colonial and the Longing for Objectivity: Huang-Tillr, Gillan C. 1979. “E. Bishop's Feminist Poetic Travel From «Sonnet» (1928) to «Sonnet» (1979)”, hup:/iberia vassar.edu/bishop/Huang_Tiler htm McCorkle, James. “Colonialism, Gender, and Lyric Identity: Refigurations of Crusoe in the Poetry of Elizabeth Bishop and Derek Walcott”, Intp:/iberia. vassar.edu/bishop/McCorkle.htrl. Moss, Howard 1977. “The Canada-Brazil Connection”. World Literature Today 51.1, 29-33, Paton, Priscilla M. 1986. “The strangeness of this undertaking: The art of E. Bishop”. Arizona Quarterly, 5-17. Raab, Josef. “The Political Dimension of Elizabeth Bishop”, htp/iberia. vassaredubishop! Raab htm Rosenbaum, Susan. “Re-Reading Confessional Poetry: Elizabeth Bishop and the Confessional Movement in American Poetry”, hitp:/iberia.vassar.edu/ bishop/Rosenbaum. html. 6 Shifrer, Anne. “Blizabeth Bishop as Delicate Ethyographer’, in htip:/iberia.vassar.edu/bishop/ Shifre. hr. Slater, Candace. 1977, “Brazil in the poetry of Elizabeth Bishop”. World Literature Today 51.1, 33-36. ‘Tomlinson, Charles. 1966. “Elizabeth Bishop's New Book”. Shenandoah 17, 88- 91 ‘Vendler, Helen. 1987. “The poems of Elizabeth Bishop”. The Critical Inquiry 13, 825.838, . Wehr, Wesley. 1981. “Elizabeth Bishop: conversations and class notes”. Antioch Review 39, 319-328, Welsch, Wolfgang. 1991. Asthetisches Denken, Stuttgart: Reclam. Zylinska, Joanna, 1998, “The Feminine Sublime: Between Aesthetics and Ethics”. Women: A Cultural Review 9.1, 97-105 m