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Originally published in 1942 under the title Minha Vida de Menina—Portuguese meaning “My Life as a Little Girl or “Young Girl”—this book is a diary that was kept by the author, Helena Morley (pseudonym of Alice Dayrell Caldeira Brant), when she was between the ages of twelve and fifteen (1893-1895), and living in Diamantina, a small diamond mining town in southeastern Brazil. The little girl describes her homework, her love of parades and dresses, her father who could scarcely make a living in the mines, and her most beloved grandmother. The diary was admired by French Novelist Georges Bernanos, and in 1957, award-winning American poet and writer Elizabeth Bishop, then resident in Brazil, translated it into English as The Diary of Helena Morley. “The more I read the book [Minha Vida de Menina ]the better I liked it. The scenes and events it described were odd, remote, and long ago, and yet fresh, sad, funny, and eternally true. The longer I stayed on in Brazil the more Brazilian the book seemed, yet much of it could have happened in any small provincial town or village, and at almost any period of history—at least before the arrival of the automobile and the moving-picture theatre.”—Elizabeth Bishop
In 1952, soon after her arrival in Brazil, Elizabeth Bishop asked her new Brazilian friends which of their country's books she should read. They recommended Minha Vida de Menina - a diary kept by a young girl who lived in a mining town at the end of the nineteenth century. As a labor of love, Elizabeth Bishop devoted three years to translating the diary, a delightful account of a young girl's life in Brazil.
Biography of poet Elizabeth Bishop that pieces together the compelling and painful story of her life and traces the writing of her poems.
The diary as a genre is found in all literate societies, and these autobiographical accounts are written by persons of all ranks and positions. The Diary offers an exploration of the form in its social, historical, and cultural-literary contexts with its own distinctive features, poetics, and rhetoric. The contributors to this volume examine theories and interpretations relating to writing and studying diaries; the formation of diary canons in the United Kingdom, France, United States, and Brazil; and the ways in which handwritten diaries are transformed through processes of publication and digitization. The authors also explore different diary formats, including the travel diary, the private diary, conflict diaries written during periods of crisis, and the diaries of the digital era, such as blogs. The Diary offers a comprehensive overview of the genre, synthesizing decades of interdisciplinary study to enrich our understanding of, research about, and engagement with the diary as literary form and historical documentation.
Roberto Schwarz is the foremost literary critic of his generation in Brazil and the most important Marxist practitioner in the tradition of the Frankfurt School writing anywhere today. This collection confirms the international significance of Schwarz's critical achievement. Studies of Kafka and Brecht respectively open and close the volume, which includes incisive studies of contemporary poetry and fiction in Brazil. The centerpiece is the hitherto untranslated Two Girls, which brings together two strongly contrasting narratives of girls' lives-one a classic novel, the other an adolescent's diary-to substantiate the crucial concept of objective form. With key reflections on theory and method and an illuminating account of the general historical importance of his exemplary Brazilian novelist, Machado de Assis, Two Girls compellingly demonstrates the logic and significance of Schwarz's work for an English-language readership.
In the second volume of The Story about the Story, editor J. C. Hallman continues to argue for an alternative to the staid five-paragraph-essay writing that has inoculated so many against the effects of good books. Writers have long approached writing about reading from an intensely personal perspective. Never before collected in a single volume, these many essays demonstrate new possibilities for how to write about reading. They offer lessons from a remarkable range of celebrated authors, amounting to an invaluable course on how to both write and read. Whether they discuss a staple of the canon (Thomas Mann on Leo Tolstoy), the merits of a contemporary (Vivian Gornick on Grace Paley), a pillar of genre-writing (Jane Tompkins on Louis L’Amour), or, arguably, the funniest man on the planet (David Shields on Bill Murray), these essays are by turns poignant, smart, suggestive, intellectual, humorous, sassy, scathing, laudatory, wistful, and hopeful — above all deeply engaged in a process of careful reading. The essays in The Story about the Story Vol. II dig deep into the past and aim toward a future where literature plays a profound role in how we think, read, live, and write.
An illuminating new biography of one of the greatest American poets of the twentieth century, Elizabeth Bishop "Love Unknown points movingly to the many relationships that moored Bishop, keeping her together even as life—and her own self-destructive tendencies—threatened to split her apart.” —The Wall Street Journal Elizabeth Bishop's friend James Merrill once observed that "Elizabeth had more talent for life—and for poetry—than anyone else I've known." This new biography reveals just how she learned to marry her talent for life with her talent for writing in order to create a brilliant array of poems, prose, and letters—a remarkable body of work that would make her one of America's most beloved and celebrated poets. In Love Unknown, Thomas Travisano, founding president of the Elizabeth Bishop Society, tells the story of the famous poet and traveler's life. Bishop moved through extraordinary mid-twentieth century worlds with relationships among an extensive international array of literati, visual artists, musicians, scholars, and politicians—along with a cosmopolitan gay underground that was then nearly invisible to the dominant culture. Drawing on fresh interviews and newly discovered manuscript materials, Travisano illuminates that the "art of losing" that Bishop celebrated with such poignant irony in her poem, "One Art," perhaps her most famous, was linked in equal part to an "art of finding," that Bishop's art and life was devoted to the sort of encounters and epiphanies that so often appear in her work.
The book examines the relationship between translation and original creation in the works of the American poet Elizabeth Bishop, suggesting that translation can be seen as a poetic principle which can be related to the poet’s original works, too. The book offers a detailed discussion of all the translation projects Bishop undertook throughout her life (from Ancient Greek, French, Portuguese and Spanish), both published and unpublished. They are seen in the context of her life and work, and analyzed with particular regard for the features which are relevant in relationship to Bishop’s own works. Bishop’s work as a translator has not been explored thoroughly yet, despite the huge critical interest in Bishop in the last decades, and one of the aim of the book is to offer such exploration. The second part of the book focuses on the ways Bishop’s interest in translation and her experience of a translator is manifested in her original works. Bishop’s poems are read with particular attention paid to the features which relate them to translation, particularly the complex interaction between the foreign and the familiar, which is examined not only in her poems dealing with exotic places (namely Brazil), but also in texts dealing with more familiar topics and locations. The final chapter argues that a crucial role in Bishop’s works is played by the unknown – that which is impossible to understand and translate fully. The book also suggests that, on a more general level, a type of poetics which shares certain key features with translation could be defined.