“In the Waiting Room” by Elizabeth Bishop: A Critical Analysis

“In the Waiting Room” by Elizabeth Bishop first appeared in her 1976 Pulitzer Prize-winning collection Geography III.

"In the Waiting Room" by Elizabeth Bishop: A Critical Analysis
Introduction: “In the Waiting Room” by Elizabeth Bishop

“In the Waiting Room” by Elizabeth Bishop first appeared in her 1976 Pulitzer Prize-winning collection Geography III. Set in Worcester, Massachusetts, during a visit to the dentist with her Aunt Consuelo, the poem captures a moment of sudden, unsettling self-awareness experienced by a young girl who realizes her connection to the adult world. Its popularity stems from Bishop’s vivid imagery and psychological depth, as she masterfully intertwines personal identity, childhood consciousness, and the overwhelming sense of shared humanity. The speaker, just shy of her seventh birthday, reads National Geographic and is confronted with unfamiliar images—“black, naked women with necks / wound round and round with wire”—which trigger a cascading awareness of mortality, gender, and selfhood. The pivotal moment comes when she hears her aunt’s cry and feels that “it was me: / my voice, in my mouth.” This merging of identities—“I—we—were falling”—underscores the poem’s central theme: the disorienting realization of being part of a larger, inexplicable human collective. Bishop’s subtle yet profound handling of these existential revelations is what cements the poem’s enduring relevance and critical acclaim.

Text: “In the Waiting Room” by Elizabeth Bishop

In Worcester, Massachusetts,
I went with Aunt Consuelo
to keep her dentist’s appointment
and sat and waited for her
in the dentist’s waiting room.
It was winter. It got dark
early. The waiting room
was full of grown-up people,
arctics and overcoats,
lamps and magazines.
My aunt was inside
what seemed like a long time
and while I waited I read
the National Geographic
(I could read) and carefully
studied the photographs:
the inside of a volcano,
black, and full of ashes;
then it was spilling over
in rivulets of fire.
Osa and Martin Johnson
dressed in riding breeches,
laced boots, and pith helmets.
A dead man slung on a pole
—“Long Pig,” the caption said.
Babies with pointed heads
wound round and round with string;
black, naked women with necks
wound round and round with wire
like the necks of light bulbs.
Their breasts were horrifying.
I read it right straight through.
I was too shy to stop.
And then I looked at the cover:
the yellow margins, the date.
Suddenly, from inside,
came an oh! of pain
—Aunt Consuelo’s voice—
not very loud or long.
I wasn’t at all surprised;
even then I knew she was
a foolish, timid woman.
I might have been embarrassed,
but wasn’t. What took me
completely by surprise
was that it was me:
my voice, in my mouth.
Without thinking at all
I was my foolish aunt,
I—we—were falling, falling,
our eyes glued to the cover
of the National Geographic,
February, 1918.

I said to myself: three days
and you’ll be seven years old.
I was saying it to stop
the sensation of falling off
the round, turning world.
into cold, blue-black space.
But I felt: you are an I,
you are an Elizabeth,
you are one of them.
Why should you be one, too?
I scarcely dared to look
to see what it was I was.
I gave a sidelong glance
—I couldn’t look any higher—
at shadowy gray knees,
trousers and skirts and boots
and different pairs of hands
lying under the lamps.
I knew that nothing stranger
had ever happened, that nothing
stranger could ever happen.

Why should I be my aunt,
or me, or anyone?
What similarities—
boots, hands, the family voice
I felt in my throat, or even
the National Geographic
and those awful hanging breasts—
held us all together
or made us all just one?
How—I didn’t know any
word for it—how “unlikely”. . .
How had I come to be here,
like them, and overhear
a cry of pain that could have
got loud and worse but hadn’t?

The waiting room was bright
and too hot. It was sliding
beneath a big black wave,
another, and another.

Then I was back in it.
The War was on. Outside,
in Worcester, Massachusetts,
were night and slush and cold,
and it was still the fifth
of February, 1918.

Annotations: “In the Waiting Room” by Elizabeth Bishop
LineExplanation (Simple English)Literary Device
🧥 In Worcester, Massachusetts,Sets the scene in a real town, grounding the memory.Setting
👩‍👧 I went with Aunt ConsueloIntroduces the family relationship.First-person narrative
👢 to keep her dentist’s appointmentExplains the reason for the outing; mundane setting.Narrative detail
and sat and waited for herHighlights waiting; builds tension.Foreshadowing
📓 in the dentist’s waiting room.Reinforces the place of reflection.Setting
🔁 It was winter. It got darkSuggests mood and time; cold and early darkness.Imagery
🔄 early. The waiting roomEmphasizes the quiet tension of waiting.Repetition
📚 was full of grown-up people,Child’s observation of the adult world.Contrast / Perspective
🌃 arctics and overcoats,Shows details of winter attire; creates mood.Visual Imagery
💡 lamps and magazines.Objects in the room build realistic atmosphere.Imagery
🕰️ My aunt was insideBegins the passage of subjective time.Time perception
what seemed like a long timeShows child’s distortion of time.Hyperbole
📖 and while I waited I readChild engages with reading to pass time.Narrative flow
🖼️ the National GeographicIntroduces the trigger for deeper reflection.Symbolism
📘 (I could read) and carefullyReveals pride and growing awareness.Parenthesis / Character insight
🔍 studied the photographs:Indicates detailed and attentive observation.Visual Imagery
🌋 the inside of a volcano,Begins strange, foreign imagery.Symbolism / Imagery
🔥 black, and full of ashes;Suggests danger, death, or destruction.Dark Imagery
then it was spilling overVolcano becomes a metaphor for emotional eruption.Metaphor
🔥 in rivulets of fire.Vivid and frightening imagery.Visual Imagery
🎩 Osa and Martin JohnsonNames famous explorers; connects to exoticism.Allusion
👞 dressed in riding breeches,Describes their appearance; part of foreignness.Historical detail
🧢 laced boots, and pith helmets.Reinforces colonial exploration theme.Symbolism
☠️ A dead man slung on a poleShocking image; early exposure to death.Graphic Imagery
🧳 —“Long Pig,” the caption said.Introduces cultural strangeness and violence.Irony / Juxtaposition
👶 Babies with pointed headsDisplays unfamiliar customs.Cultural imagery
🧵 wound round and round with string;Depicts exotic practices with tension.Visual Imagery
🔄 black, naked women with necksPresents bodies as strange and disturbing.Contrast / Objectification
🔁 wound round and round with wireRepetition emphasizes shock and strangeness.Repetition / Visual Imagery
💡 like the necks of light bulbs.Childlike comparison; shows discomfort.Simile
😨 Their breasts were horrifying.Expresses fear and confusion about the body.Tone / Innocence vs Experience
📘 I read it right straight through.Child is engrossed despite discomfort.Stream of consciousness
🤐 I was too shy to stop.Reflects innocence and social fear.Characterization
👀 And then I looked at the cover:Marks return from disturbing content.Shift in focus
📅 the yellow margins, the date.Fixes the moment in history.Symbolism / Time marker
Suddenly, from inside,A sudden interruption breaks the child’s focus.Juxtaposition
📣 came an oh! of painA physical cry introduces emotional realization.Auditory imagery
🗣️ —Aunt Consuelo’s voice—Recognition of a familiar voice connects inner and outer world.Identity
🔉 not very loud or long.Downplays the cry, making the emotional impact more subtle.Understatement
🤔 I wasn’t at all surprised;Reveals emotional maturity or numbness.Tone
🧠 even then I knew she wasShows reflective awareness at a young age.Character Insight
🤷 a foolish, timid woman.Child’s judgment of her aunt’s personality.Irony
😐 I might have been embarrassed,Expected social reaction is introduced.Social commentary
😳 but wasn’t. What took meDefies expectations—child experiences deeper realization.Epiphany
😵 completely by surpriseSignals the start of psychological transformation.Tone Shift
🗣️ was that it was me:Startling identity confusion begins.Symbolism
🌀 my voice, in my mouth.Identity blurs with her aunt’s—an existential moment.Metaphor
🧍 Without thinking at allInstinctive reaction signals depth of feeling.Stream of consciousness
👩‍🦳 I was my foolish aunt,Suggests merging of identities and roles.Surrealism
🔁 I—we—were falling, falling,Repetition mimics emotional and existential descent.Repetition / Symbolism
👀 our eyes glued to the coverAttempt to hold onto reality or grounding point.Symbolism
📖 of the National Geographic,The trigger of the experience is ever-present.Symbol / Frame device
📅 February, 1918.Anchors the moment in historical time.Time marker
🧠 I said to myself: three daysSelf-talk shows awareness of time and self.Inner monologue
🎂 and you’ll be seven years old.Milestone indicates coming of age.Symbolism
🧩 I was saying it to stopConscious effort to fight overwhelming realization.Conflict
🌍 the sensation of falling offLoss of control over one’s self and place in the world.Metaphor
🌌 the round, turning world.Emphasizes the vastness and uncertainty of existence.Cosmic Imagery
🌫️ into cold, blue-black space.Evokes fear, isolation, and alienation.Visual Imagery
🧠 But I felt: you are an I,Begins the existential revelation of individuality.Philosophical reflection
👧 you are an Elizabeth,Naming herself affirms her identity.Identity
👥 you are one of them.Connects her to the larger human community.Universalism
Why should you be one, too?Begins deep questioning of existence.Rhetorical Question
🙈 I scarcely dared to lookHesitation indicates fear of self-recognition.Suspense
👁️ to see what it was I was.Exploration of self and perception.Existentialism
👀 I gave a sidelong glanceShe attempts a partial look—suggests fear or restraint.Symbolism
🙅 —I couldn’t look any higher—Avoidance of full truth or recognition.Visual limitation
👖 at shadowy gray knees,Concrete imagery anchors vague fears.Imagery
👗 trousers and skirts and bootsRepresents the anonymous adult world.Synecdoche
🖐️ and different pairs of handsHumanity shown through common features.Symbolism
💡 lying under the lamps.Suggests artificial clarity or exposure.Imagery
🧠 I knew that nothing strangerRealization of the surreal nature of the moment.Irony
😲 had ever happened, that nothingHeightens significance of personal awakening.Hyperbole
🤯 stranger could ever happen.Declares the climax of her awareness.Epiphany
Why should I be my aunt,Deep philosophical identity question.Rhetorical Question
🧍 or me, or anyone?Further confusion of selfhood and being.Existentialism
🧬 What similarities—Begins analysis of connection between humans.Reflection
👢🖐️🗣️ boots, hands, the family voicePhysical and vocal features create unity.Synecdoche
🧠 I felt in my throat, or evenShared voice shows deep familial or human link.Symbolism
📖 the National GeographicContinues to frame entire event as book-triggered.Motif
😨 and those awful hanging breasts—Image persists, tying personal horror to universality.Shock Imagery
🤝 held us all togetherPoints to universal human connection.Theme
🧍‍♀️ or made us all just one?Questions individuality vs. unity.Philosophical Question
How—I didn’t know anyAcknowledges limited vocabulary for complex feelings.Irony
🌀 word for it—how “unlikely”. . .Mystery and improbability of identity realization.Ambiguity
How had I come to be here,Questions fate and personal history.Reflection
👥 like them, and overhearSuggests merging into the adult world.Identity loss
😣 a cry of pain that could havePoints to potential suffering in all lives.Symbolism
📉 got loud and worse but hadn’t?Hints at suppressed or avoided emotional pain.Understatement
💡 The waiting room was brightShift back to external world; heightened awareness.Imagery
🥵 and too hot. It was slidingDiscomfort mirrors emotional intensity.Atmosphere
🌊 beneath a big black wave,Metaphor for emotional overwhelm.Symbolism
🌊 another, and another.Suggests repetition of these moments in life.Repetition
🔁 Then I was back in it.Returns from a trance-like state.Transition
🎖️ The War was on. Outside,Historical context anchors the moment.Allusion
📍 in Worcester, Massachusetts,Repeats opening line to bring closure.Circular Structure
❄️ were night and slush and cold,Harsh physical world contrasts inner storm.Imagery
📅 and it was still the fifthReturns to calendar moment.Time marker
📆 of February, 1918.Reinforces historical context and personal moment.Closure
Literary And Poetic Devices: “In the Waiting Room” by Elizabeth Bishop
DeviceDefinitionExample from PoemExplanation (Simple English)
📚 AllusionReference to a well-known person, place, or eventOsa and Martin JohnsonRefers to real-life explorers, adding realism and context.
🌫️ AmbiguityLanguage with unclear or multiple meaningshow “unlikely”…Expresses confusion about identity and existence.
🔁 AnaphoraRepetition of a word or phrase at the start of linesyou are an I, you are an Elizabeth, you are one of themEmphasizes her realization of belonging and identity.
🌡️ AtmosphereThe emotional tone or mood of a sceneThe waiting room was bright and too hotCreates an uncomfortable, tense emotional setting.
🔉 Auditory ImageryWords that appeal to the sense of soundcame an oh! of painHelps readers imagine the cry she hears.
⚫⚪ ContrastDifference between two opposing ideas/imagesgrown-up people vs. a child narratorHighlights the gap between childhood and adulthood.
🧠 EpiphanyA sudden, deep realization or insightI—we—were falling, fallingShows a moment of shocking self-awareness and identity crisis.
🌀 ExistentialismConcern with existence, identity, and meaningWhy should I be my aunt, or me, or anyone?Raises big questions about who we are and why we exist.
👁️ Imagery (Visual)Descriptive language that appeals to sightblack, naked women with necks wound round and round with wireHelps visualize the shocking, unfamiliar magazine pictures.
🤯 IronyA surprising contrast between expectation and realityI wasn’t at all surprised (by the scream)It’s unexpected that she doesn’t react like a typical child.
🧍 JuxtapositionPlacing two things side-by-side to show contrastthe National Geographic vs. the cry of painPuts disturbing images next to personal experience.
🧠 MetaphorA direct comparison without using “like” or “as”falling off / the round, turning worldRepresents the emotional disorientation she feels.
🔁 MotifA recurring element or idea in a workthe National Geographic magazineKeeps appearing and serves as the trigger for reflection.
👄 Narrative VoiceThe voice telling the story (often the speaker)I went with Aunt ConsueloTold from a first-person child perspective, shaping our understanding.
🧒 Perspective (Child’s)The world seen through a child’s understandingI could read… I was too shy to stopShows limited, innocent view that becomes complex.
🖼️ RealismWriting that closely reflects real lifeWorcester, Massachusetts… dentist’s waiting roomSets a believable, ordinary scene.
🧶 RepetitionUsing the same words or phrases multiple timesfalling, fallingReflects confusion and emotional descent.
🗣️ SymbolismAn object or image that represents a bigger ideaNational GeographicSymbolizes the bridge between childhood and adult knowledge.
🗯️ ToneThe speaker’s attitude or emotional expressionTheir breasts were horrifying.Conveys a mix of fear, confusion, and judgment.
🕰️ Time MarkerSpecific time reference that grounds the narrativeFebruary, 1918Gives historical context and a sense of personal memory.
Themes: “In the Waiting Room” by Elizabeth Bishop

🔍 1. Identity and Self-Awareness

In “In the Waiting Room” by Elizabeth Bishop, one of the central themes is the sudden awakening of personal identity. The child speaker experiences a profound realization that she is not just a passive observer but a distinct individual—“you are an I, you are an Elizabeth, you are one of them”. This startling self-recognition occurs when she hears her aunt cry out in pain and feels that “it was me: my voice, in my mouth.” The merging of voices triggers a moment of existential awareness, highlighting the thin boundary between self and others. The speaker’s question—“Why should I be my aunt, or me, or anyone?”—reveals the shock of realizing that individual identity is both inherited and shared, marking a child’s transition into the adult world of consciousness.


🌍 2. The Universality of Human Experience

Elizabeth Bishop’s “In the Waiting Room” explores the idea that all human beings are connected through shared experiences, sensations, and bodies. As the young narrator examines the pages of National Geographic, she is overwhelmed by images of people from other cultures—“black, naked women with necks wound round and round with wire”—and is startled not just by their physical appearance but by the realization that she, too, is a body, a person like them. This dawning awareness culminates in the question: “What similarities—boots, hands, the family voice… held us all together or made us all just one?” Through these lines, Bishop reflects on the unifying aspects of humanity—physicality, language, suffering—despite cultural or geographical difference.


🧠 3. The Loss of Innocence

The theme of losing childhood innocence is central to “In the Waiting Room”, as Elizabeth Bishop describes a pivotal moment when the speaker is confronted with the harsh realities of the adult world. The magazine’s shocking photographs—“A dead man slung on a pole,” and “those awful hanging breasts”—serve as early exposures to death, violence, and sexuality. These images contrast sharply with the child’s earlier innocence and comfort. Her experience in the waiting room becomes a metaphor for the psychological space between childhood and adulthood. This is a moment of irreversible understanding, where the child realizes she is part of a broader, sometimes terrifying human reality.


🕰️ 4. Time and Historical Consciousness

“In the Waiting Room” by Elizabeth Bishop also meditates on time and historical presence. The poem is rooted in a specific historical moment—“February, 1918”—and alludes to “The War” (World War I), anchoring the personal experience in a wider social and historical reality. The young speaker becomes aware not just of herself, but of the world outside the dentist’s office—“The War was on. Outside, in Worcester, Massachusetts, were night and slush and cold.” This juxtaposition of private epiphany and public history creates a layered sense of time, where personal growth and global events unfold in parallel. The awareness that “it was still the fifth of February, 1918” symbolizes a moment frozen in memory—both ordinary and momentous.

Literary Theories and “In the Waiting Room” by Elizabeth Bishop
TheoryDefinitionExample from PoemApplication/Explanation
🧠 Psychoanalytic TheoryFocuses on unconscious desires, identity, and childhood experiences.“I—we—were falling, falling… you are an I, you are an Elizabeth…”The speaker’s inner conflict and sudden identity crisis reflect Freud’s ideas of ego formation and the fragmentation of self. The merging of voices (hers and her aunt’s) suggests subconscious confusion between self and other.
🌍 Postcolonial TheoryExamines power, race, and representation of the “Other.”“black, naked women with necks wound round and round with wire”The poem critiques exotic representations of non-Western bodies in National Geographic. The child’s discomfort reflects the Western gaze and the problematic portrayal of racialized subjects.
🧒 Coming-of-Age (Bildungsroman) ApproachAnalyzes a young character’s psychological and moral development.“I said to myself: three days / and you’ll be seven years old.”The poem portrays a pivotal moment of transition from childhood innocence to self-awareness. The confrontation with mortality, identity, and belonging marks a rite of passage.
New HistoricismAnalyzes literature in relation to historical and cultural contexts.“The War was on… February, 1918.”The personal moment is anchored in global events. The poem reflects how individual identity and trauma are shaped by historical forces like WWI, colonialism, and gender roles of the time.
Critical Questions about “In the Waiting Room” by Elizabeth Bishop

1. How does “In the Waiting Room” by Elizabeth Bishop portray the sudden emergence of self-identity?

In Elizabeth Bishop’s “In the Waiting Room”, the speaker experiences a jarring moment of self-awareness that marks her psychological development. This awakening is triggered by hearing her Aunt Consuelo’s cry—“an oh! of pain”—which unexpectedly echoes within the speaker: “What took me completely by surprise / was that it was me: / my voice, in my mouth.” This uncanny doubling blurs the boundary between child and adult, self and other, suggesting an early, almost traumatic confrontation with the concept of individuality. The repeated phrase “falling, falling” emphasizes her loss of stability as she realizes “you are an I, you are an Elizabeth, you are one of them.” Through this episode, the poem encapsulates the frightening beauty of becoming aware of one’s existence.


🌍 2. How does “In the Waiting Room” by Elizabeth Bishop explore the connection between individual identity and collective humanity?

In “In the Waiting Room” by Elizabeth Bishop, the young speaker grapples with her place in a vast and strange human world. While flipping through National Geographic, she encounters images of women and cultural practices that deeply unsettle her: “black, naked women with necks / wound round and round with wire / like the necks of light bulbs.” Though at first alien and disturbing, these images spark a realization that she shares something essential with them. Her reflections—“What similarities… held us all together or made us all just one?”—point to the poem’s theme of shared humanity. Bishop suggests that despite surface-level differences, there is a universal physical and emotional connection that binds us across cultures and ages.


🧠 3. What role does trauma or discomfort play in shaping awareness in “In the Waiting Room” by Elizabeth Bishop?

Elizabeth Bishop’s “In the Waiting Room” hinges on the emotional disturbance caused by discomfort, which acts as the catalyst for the speaker’s existential transformation. The images in National Geographic“a dead man slung on a pole” and “those awful hanging breasts”—expose the child to concepts of death, pain, and physicality. These foreign yet viscerally real images unsettle her protected worldview. The physical setting adds to this discomfort—“The waiting room was bright and too hot”—mirroring her emotional unease. Bishop uses discomfort not as a passing feeling but as the essential condition under which deep awareness is born. It’s through this overwhelming tension that the child steps into a new, more conscious phase of life.


⏳ 4. How does “In the Waiting Room” by Elizabeth Bishop reflect on time and historical awareness through personal memory?

In “In the Waiting Room” by Elizabeth Bishop, time operates both as a backdrop and as a theme that shapes the child’s perception of self. The narrator repeatedly anchors her experience in historical detail—“February, 1918… The War was on.” This precise timestamp gives weight to what might otherwise seem like an ordinary memory. The personal and historical intersect as the child’s realization of her identity unfolds within a world shaped by global conflict and adult concerns. The repetition of “it was still the fifth of February, 1918” at the poem’s close suggests that the memory has frozen in time, permanently etched into the speaker’s consciousness. Bishop uses time not merely as setting but as a lens through which personal experience gains significance and permanence.


Literary Works Similar to “In the Waiting Room” by Elizabeth Bishop

  1. 🧠 “The Love Song of J. Alfred Prufrock” by T.S. Eliot
    Similarity: Like Bishop’s poem, this work delves into the inner psyche and self-consciousness of the speaker, exploring isolation and identity through introspective monologue.
  2. 🌀 “The Applicant” by Sylvia Plath
    Similarity: This poem shares Bishop’s critical tone on societal expectations and human conformity, using surreal and disturbing imagery to highlight personal and collective identity.
  3. “Fern Hill” by Dylan Thomas
    Similarity: Thomas reflects on childhood and the passage of time, much like Bishop’s speaker does during her transition from innocence to awareness.
  4. 🔍 “Digging” by Seamus Heaney
    Similarity: Both poems use vivid memory and physical detail to explore the shaping of identity, bridging personal history with broader cultural or familial ties.
Representative Quotations of “In the Waiting Room” by Elizabeth Bishop
Quotation with SymbolContextTheoretical Perspective
📍 “In Worcester, Massachusetts,”Opens the poem with a grounded, specific location. Establishes realism and personal memory.New Historicism
👩‍👧 “I went with Aunt Consuelo”Introduces the speaker’s close familial connection and dependency.Feminist / Psychoanalytic
🔥 “the inside of a volcano, black, and full of ashes”Describes a vivid and frightening image in the National Geographic; represents chaos.Postcolonial / Symbolism
🗣️ “came an oh! of pain — Aunt Consuelo’s voice —”This ordinary cry initiates the speaker’s existential unraveling.Psychoanalytic
🌀 “What took me completely by surprise was that it was me: my voice, in my mouth.”Speaker identifies herself in the cry, blurring self/other boundary.Psychoanalytic / Existentialism
📖 “I—we—were falling, falling,”The speaker enters a psychological and emotional free-fall.Stream of Consciousness / Psychoanalytic
👧 “you are an I, you are an Elizabeth, you are one of them.”The moment of personal and human recognition.Existentialism / Identity Theory
“Why should I be my aunt, or me, or anyone?”Raises questions about identity, agency, and existence.Existentialism / Psychoanalytic
🌍 “What similarities—boots, hands, the family voice… held us all together or made us all just one?”Suggests a collective human identity beyond the individual.Postcolonial / Humanism
📅 “February, 1918.”Marks the moment historically, tying personal awakening to a global context.New Historicism
Suggested Readings: “In the Waiting Room” by Elizabeth Bishop
  1. Edelman, Lee, and Elizabeth Bishop. “The Geography of Gender: Elizabeth Bishop’s ‘In the Waiting Room.’” Contemporary Literature, vol. 26, no. 2, 1985, pp. 179–96. JSTOR, https://doi.org/10.2307/1207932. Accessed 5 Apr. 2025.
  2. Flynn, Richard. “ELIZABETH BISHOP’S SANITY: Childhood Trauma, Psychoanalysis, and Sentimentality.” Elizabeth Bishop and the Literary Archive, edited by Bethany Hicok, Lever Press, 2019, pp. 45–64. JSTOR, http://www.jstor.org/stable/10.3998/mpub.11649332.7. Accessed 5 Apr. 2025.
  3. Travisano, Thomas. “The Elizabeth Bishop Phenomenon.” New Literary History, vol. 26, no. 4, 1995, pp. 903–30. JSTOR, http://www.jstor.org/stable/20057324. Accessed 5 Apr. 2025.
  4. Treseler, Heather. “‘TOO SHY TO STOP’: Elizabeth Bishop and the Scene of Reading.” Elizabeth Bishop and the Literary Archive, edited by Bethany Hicok, Lever Press, 2019, pp. 17–44. JSTOR, http://www.jstor.org/stable/10.3998/mpub.11649332.6. Accessed 5 Apr. 2025.

Leave a Reply

Your email address will not be published. Required fields are marked *