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ABOUT THE AUTHOR
Elizabeth Bishop
Elizabeth Bishop
Though Elizabeth Bishop was considered for many years to be a "poet's poet," her stature as a major force in contemporary literature continues to grow through the high regard of the poets and critics who have followed her ...
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FURTHER READING
Poems About Animals and Pets
27,000 Miles
by Albert Goldbarth
At the Zoo
by William Makepeace Thackeray
Bats
by Paisley Rekdal
Darwin's Finches
by Deborah Digges
Evening Hawk
by Robert Penn Warren
from Jubilate Agno, Fragment B, lines 695-768
by Christopher Smart
Leda and the Swan
by W. B. Yeats
Mole
by Wyatt Prunty
Mother Doesn't Want a Dog
by Judith Viorst
Nelson, My Dog
by Gary Soto
Ode on the death of a favorite cat
by Thomas Gray
Skunk Hour
by Robert Lowell
The Armadillo
by Elizabeth Bishop
The Bear
by Galway Kinnell
The Crocodile
by Lewis Carroll
The Eagle
by Lord Alfred Tennyson
The Kitten and The Falling Leaves
by William Wordsworth
The Paper Nautilus
by Marianne Moore
The Return
by Frances Richey
The Tyger
by William Blake
Thing
by Rae Armantrout
Turn of a Year
by Joan Houlihan
Related Prose
"Visibility is Poor": Elizabeth Bishop's Obsessive Imagery and Mystical Unsaying
by Katie Ford
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The Moose  
by Elizabeth Bishop

For Grace Bulmer Bowers


From narrow provinces

of fish and bread and tea,
home of the long tides
where the bay leaves the sea
twice a day and takes
the herrings long rides,

where if the river
enters or retreats
in a wall of brown foam
depends on if it meets
the bay coming in,
the bay not at home;

where, silted red,
sometimes the sun sets
facing a red sea,
and others, veins the flats'
lavender, rich mud
in burning rivulets;

on red, gravelly roads,
down rows of sugar maples,
past clapboard farmhouses
and neat, clapboard churches,
bleached, ridged as clamshells,
past twin silver birches,

through late afternoon
a bus journeys west,
the windshield flashing pink,
pink glancing off of metal,
brushing the dented flank
of blue, beat-up enamel;

down hollows, up rises,
and waits, patient, while
a lone traveller gives
kisses and embraces
to seven relatives
and a collie supervises.

Goodbye to the elms,
to the farm, to the dog.
The bus starts. The light
grows richer; the fog,
shifting, salty, thin,
comes closing in.

Its cold, round crystals
form and slide and settle
in the white hens' feathers,
in gray glazed cabbages,
on the cabbage roses
and lupins like apostles;

the sweet peas cling
to their wet white string
on the whitewashed fences;
bumblebees creep
inside the foxgloves,
and evening commences.

One stop at Bass River.
Then the Economies
Lower, Middle, Upper;
Five Islands, Five Houses,
where a woman shakes a tablecloth
out after supper.

A pale flickering. Gone.
The Tantramar marshes
and the smell of salt hay.
An iron bridge trembles
and a loose plank rattles
but doesn't give way.

On the left, a red light
swims through the dark:
a ship's port lantern.
Two rubber boots show,
illuminated, solemn.
A dog gives one bark.

A woman climbs in
with two market bags,
brisk, freckled, elderly.
"A grand night. Yes, sir,
all the way to Boston."
She regards us amicably.

Moonlight as we enter
the New Brunswick woods,
hairy, scratchy, splintery;
moonlight and mist
caught in them like lamb's wool
on bushes in a pasture.

The passengers lie back.
Snores. Some long sighs.
A dreamy divagation
begins in the night,
a gentle, auditory,
slow hallucination. . . .

In the creakings and noises,
an old conversation
--not concerning us,
but recognizable, somewhere,
back in the bus:
Grandparents' voices

uninterruptedly
talking, in Eternity:
names being mentioned,
things cleared up finally;
what he said, what she said,
who got pensioned;

deaths, deaths and sicknesses;
the year he remarried;
the year (something) happened.
She died in childbirth.
That was the son lost
when the schooner foundered.

He took to drink. Yes.
She went to the bad.
When Amos began to pray
even in the store and
finally the family had
to put him away.

"Yes . . ." that peculiar
affirmative. "Yes . . ."
A sharp, indrawn breath,
half groan, half acceptance,
that means "Life's like that.
We know it (also death)."

Talking the way they talked
in the old featherbed,
peacefully, on and on,
dim lamplight in the hall,
down in the kitchen, the dog
tucked in her shawl.

Now, it's all right now
even to fall asleep
just as on all those nights.
--Suddenly the bus driver
stops with a jolt,
turns off his lights.

A moose has come out of
the impenetrable wood
and stands there, looms, rather,
in the middle of the road.
It approaches; it sniffs at
the bus's hot hood.

Towering, antlerless,
high as a church,
homely as a house
(or, safe as houses).
A man's voice assures us
"Perfectly harmless. . . ."

Some of the passengers
exclaim in whispers,
childishly, softly,
"Sure are big creatures."
"It's awful plain."
"Look! It's a she!"

Taking her time,
she looks the bus over,
grand, otherworldly.
Why, why do we feel
(we all feel) this sweet
sensation of joy?

"Curious creatures,"
says our quiet driver,
rolling his r's.
"Look at that, would you."
Then he shifts gears.
For a moment longer,

by craning backward,
the moose can be seen
on the moonlit macadam;
then there's a dim
smell of moose, an acrid
smell of gasoline.



From The Complete Poems 1927-1979 by Elizabeth Bishop, published by Farrar, Straus & Giroux, Inc. Copyright © 1979, 1983 by Alice Helen Methfessel. Used with permission.
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